Download Editor™ Manual - GlobalStreams

Editor™ Manual
Copyrights. Copyright 1998-2004, GlobalStreams, Inc. All rights reserved. The GlobeCaster System software,
content and documentation are copyright 1998-2004. This User Manual may not, in whole or in any part, be
copied, photocopied, reproduced, translated, or reduced to any electronic medium or machine readable format
without the prior written consent of an authorized representative from GlobalStreams, Inc.
Certain image and clip art files are Copyright © 1998, Image Ideas Inc., Richmond Hill, ON, Canada. Certain
images are Copyright © 1998 Izzy Schwartz Photography, Sacramento, CA. Certain font files are Copyright ©
1996, Bitstream, Inc., Cambridge, MA and copyright © 1996-1999, Media Workshop, Inc., Beaverton, OR.
Certain 3D objects are Copyright © 1999 Zygote Media Group, Provo, UT. All rights reserved to their respective
holders.
Trademarks. GlobalStreams, GlobalStreams and the GlobalStreams logos, GlobeCaster and the GlobeCaster
logos, Warp Engine, GlobeCaster Editor, GlobeCaster Animator/Compositor, Time Machine, GlobeCaster Effects
Generator, GlobeCaster Character Generator, GlobeCaster Switcher, GlobeCaster Virtual Sets, ClipMem, and 3D
Video Tracing are trademarks of GlobalStreams, Inc. Trinity is a registered trademark of GlobalStreams, Inc.
Windows and Windows NT are registered trademarks of Microsoft Corporation. Bitstream is the registered
trademark of Bitstream, Inc. Artbeats, InnoVision, Izzy and other trademarks used in the GlobeCaster materials
are the property of their respective holders.
Patents. Various technology in the GlobeCaster System is patented in the United States, including without
limitation patent numbers 5,941,997, 5,978,876, 5,872,565. Other patents, in the United States and
othercountries, are pending.
Acknowledgments. The Software is based in part on the work of the Independent JPEG Group. Artbeats
Software, Inc. provided visual imagery for the Fire, Arc, Bloom, Cityscape, Waterfall, Smoke, Tvwater, and
FireStage effects.
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Table of Contents
Chapter 1: Document Overview.................................................................... 3
Introduction .................................................................................. 4
Conventions .................................................................................. 5
Chapter 2: Quick Start ................................................................................ 9
Adding Events ..............................................................................10
Changing The Duration Of Events ...........................................................14
Creating Cuts ...............................................................................16
Creating Dissolves ..........................................................................18
Adding Effects ..............................................................................21
Adding A Graphic Overlay ...................................................................24
Live Input Events ...........................................................................26
Chapter 3: Reference ...............................................................................31
Introduction To The Interface................................................................32
Customizing The Interface .................................................................. 34
Using Monitor And Transport Controls ...................................................... 43
Working With Clips .........................................................................70
Working With Timelines .....................................................................81
Effect Properties Panel as Chroma Keyer .................................................. 123
Using Advanced Editing Modes ........................................................... 124
Timeline Flattening ........................................................................ 135
Digitizing With Time Machine ............................................................. 138
Exporting Time Machine Clips with Audio Compression ................................... 153
Animating Audio On The Timeline ......................................................... 155
Mixing Audio ............................................................................. 161
Using Options And Applications Buttons .................................................. 170
Chapter 4: Tutorials ............................................................................... 181
Linear Editing ............................................................................. 182
Non-Linear Editing With Time Machine .................................................... 212
Using Advanced Editing Modes ........................................................... 256
Sync Roll Editing .......................................................................... 279
Appendix I: Keyboard Commands............................................................. 303
Appendix II: Troubleshooting Guide............................................................ 309
FCC Notice........................................................................................... 313
Index .................................................................................................. 317
GlobeCaster System License Agreement .................................................... 331
Application Notes .................................................................................. 337
i
Ta ble o f Co nten ts
ii
GLOBECASTER EDITOR MANUAL
DOCUMENT OVERVIEW
CHAPTER 1
2
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Chapter 1
Document Overview
This chapter provides information on how this manual is organized. It also introduces
conventions used within the manual, and provides information on how to get in touch
with GlobeCaster Tech Support and GlobalStreams.
NOTE: This manual makes references
to the following
GlobeCaster
applications:
GlobeCaster
Switcher. If you
are a GlobeCaster
Post user, you will not
have GlobeCaster Switcher.
The following topics are covered:
•
Introduction..................................................................................... 4
•
Conventions..................................................................................... 5
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4
Chapter 1
Introduction
This manual explains how to use the GlobeCaster Editor, GlobeCaster’s linear and
non-linear (if Time Machine is installed) editor. It details how to use buttons,
panels, and pop-up menus. It also includes tutorials. You will find the following
sections in the manual:
Quick Start
Reference
Tutorials
Appendices
A guided tour of the GlobeCaster Editor that helps new users get a feel for the
application. It shows you how to add stills and effects to a timeline, and how to
play them back.
A description of all the buttons, panels, and pop-up menus in the GlobeCaster
Editor. There are also explanations about the interface, such as how to customize
the layout or the parts of the timeline. It also explains functions you can perform
with mouse or keyboard actions. You will also find instructions on how to use
Time Machine to digitize clips in this chapter.
Step-by-step instructions and graphics show you how to perform basic to advanced
editing tasks in the GlobeCaster Editor. You learn the basics of linear and nonlinear editing, as well as how to create specific types of projects.
A collection of information, including keyboard shortcuts and FAQ’s.
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Conventions
Before you get too far into the manual, here are some of the conventions that
appear within.
General
Conventions
Mouse
Conventions
The following formats are used to identify special instructions or important points
in this manual.
1. (numbered)
Indicates step-by-step instructions to follow.
Bold Type
Indicates words you should type, buttons
you should click, names of menus or
windows, and file path names.
Italic Type
Indicates emphasis of important points.
GlobeCaster is designed for use with a two-button mouse. The following table
explains mouse commands used in this manual.
Click
Place the mouse pointer over an object. Press the
left mouse button and immediately release.
Click-and-drag
Place the mouse pointer over an object. Press the
left mouse button. While holding the button down,
move the mouse around. This is used mainly to
draw boxes over objects to select them.
Double-click
Place the mouse pointer over an object. Press the
left mouse button twice quickly and immediately
release.
Drag-and-drop
Place the mouse pointer over an object. Press the
left mouse button and hold it down. Drag (move)
the object anywhere on your screen. When you
release the mouse button, the object is dropped
where the mouse pointer is aimed.
Right-click
Place the mouse pointer over an object. Press the
right mouse button and immediately release.
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Chapter 1
GLOBECASTER EDITOR MANUAL
QUICK START
CHAPTER 2
8
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Chapter 2
Quick Start
This section introduces you to editing on the GlobeCaster Editor timeline. The timeline
provides a graphical representation of your projects, which makes it easy to trim or
move events, such as clips and effects. While editing with the GlobeCaster Editor, you
can scrub through your timeline and see every non-linear clip, dissolve, wipe, digital
video effect, graphic, title, and still instantly in its full resolution without rendering.
In order to get you up and running so you can get a feel for how the GlobeCaster Editor
timeline works, in this Quick Start you will use some of the framestores provided with
GlobeCaster to place dissolves, wipes, digital video effects, and an overlay on your
timeline. When you are ready to work with your own video sources, the tutorials in this
book give you step-by-step directions on how to assign decks and tape names, log clips,
build a timeline, and digitize clips (if you have Time Machine installed).
This Quick Start walks you through the following:
•
Adding events ................................................................................ 10
•
Changing the duration of events ................................................... 14
•
Creating cuts.................................................................................. 16
•
Creating dissolves .......................................................................... 18
•
Adding effects ................................................................................ 21
•
Adding a graphic overlay ............................................................... 24
•
Using live video ............................................................................. 26
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Chapter 2
Adding Events
The first thing you’ll do is add an event to the timeline. Events can be stills, linear
or digital clips, transitions, or effects. But before you begin, let’s take a quick look
at the GlobeCaster Editor interface.
Shown below are two different GlobeCaster Editor interfaces, one for each model
of GlobeCaster, Studio (Figure 2.1) and Post (Figure 2.2).
2
Button
Output
Monitor
Source
Button
Add Clip
Button
Scroom
Bar
Position
Bar
Figure 2.1: The Studio GlobeCaster Editor Interface
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Figure 2.2: The Post GlobeCaster Editor Interface
When you first open the GlobeCaster Editor, by default it has the settings you
need to dive in and do this Quick Start. But if you or someone else has been
exploring in it, check to see that the 2 button and Add Clip button are on (they are
yellow when they are on). Also, make sure the right output monitor source button
says Timeline. If it says Recorder or Off, right-click on it and select Timeline from
the pop-up menu.
OK, you’re ready to start having fun. Here’s how to add an event to the timeline:
1.
Find the following picon in the \GlobeCaster\Bins\Stills\Manmade bin. (For
instructions on how to navigate through the bins, see the GlobeCaster User
Guide.)
Figure 2.3: Still Picon
2.
Double-click on the picon.
It is loaded onto the timeline.
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Chapter 2
TIP: You can select
multiple objects and
drop them in the timeline. You can also
drop multiple files
onto the timeline. To
do so, click on and
hold the multiple
files, drag the files to
the timeline, and
release the mouse button.
Figure 2.4: Picon on the Timeline
3.
Click on the Timeline button on the toolbar (Figure 2.5).
Timeline Button
Figure 2.5: The Timeline Button
4.
Click the First Frame button in the transport controls on the toolbar
(Figure 2.6).
First Frame Button
Figure 2.6: The First Frame Button
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5.
13
Click the Play button in the transport controls on the toolbar.
Play Button
Figure 2.7: The Play Button
You see the image on the right (output) monitor. You also see the Position Bar,
a thin, black vertical line, move across the timeline while the timecode above
the Position Bar changes, reflecting its current position.
You can also scrub through the timeline by clicking-and-dragging the Position Bar
through the timeline. The GlobeCaster Editor instantly shows you the video at
whatever position you move to.
TIP: The following
functions help you
move around on the
timeline:
•
Scroom (scroll and zoom) bar - Located at the bottom of the timeline, the
scroom bar moves the timeline horizontally when you drag it to the left or the
right, and zooms in and out when you drag it up or down.
•
Sizing the timeline - You can also zoom in and out by right-clicking on any
gray area of the timeline. This brings up a pop-up menu with zoom selections.
This pop-up menu also contains a Fit All option, which is handy for sizing the
timeline so you can see everything on it.
•
Position Bar - You can place the Position Bar anywhere on the timeline by
clicking where you would like it to appear.
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Chapter 2
Changing The Duration Of Events
Next you’ll change the duration of the event you placed on the timeline. Trimming
clips is easily done by clicking-and-dragging the trimming handles on the ends of
each clip. Here’s how to shorten the event you placed on the timeline:
1.
Click on the trimming handle (the raised bar at the end of the clip) on the
right side of the event and drag left to shrink the event bar (Figure 2.8).
Trim
Handles
Figure 2.8: Trimming the Event
The event is now shortened. To watch it, proceed to the next steps.
2.
Click on the Timeline button on the toolbar (Figure 2.9).
Timeline Button
Figure 2.9: The Timeline Button
3.
Click the First Frame button in the transport controls on the toolbar
(Figure 2.10).
First Frame
Button
Figure 2.10: The First Frame Button
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4.
15
Click the Play button in the transport controls on the toolbar (Figure 2.11).
Play Button
Figure 2.11: The Play Button
The length of time the still image is on the screen decreases.
Now you’re ready to add another event to the timeline and create some transitions.
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Chapter 2
Creating Cuts
Next you’ll add another event and watch the cut between the two events.
1.
Locate another still, such as the following one from the
\GlobeCaster\Bins\Stills\Manmade bin.
Figure 2.12: Still Picon
2.
Double-click on the picon to load it into the timeline (Figure 2.13). You can
also drag the picon from the bin to the timeline.
TIP: If the timeline
is zoomed out and
you want to see all of
your clips, right-click
in a gray area of the
timeline and choose
Fit All from the popup menu.
Figure 2.13: Two Clips on the Timeline
3.
Click the Timeline button on the toolbar (Figure 2.14).
Timeline Button
Figure 2.14: The Timeline Button
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4.
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Click the First Frame button in the transport controls on the toolbar
(Figure 2.15).
First Frame Button
Figure 2.15: The First Frame Button
5.
Click the Play button in the transport controls on the toolbar (Figure 2.16).
Play Button
Figure 2.16: The Play Button
This time, as you watch the right (output) monitor, the GlobeCaster Editor
performs a cut as it reaches the end of the first event and the beginning of the
next.
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Chapter 2
Creating Dissolves
Next you’ll create a dissolve between the two events. One of the great things about
the GlobeCaster Editor is that it makes it easy to create this common transition.
To create a dissolve, do the following:
1.
Click on the second event, drag it to the track below, and drop it. Drag the
second clip to the left so that the two clips overlap (Figure 2.17).
Figure 2.17: Second Event In Place
2.
In the overlapped area, right-click on either event and choose Create Dissolve
from the pop-up menu (Figure 2.18).
Figure 2.18: Choosing Create Dissolve
A new track called FX (effects) appears directly below the two video tracks
(Figure 2.19). The tan bar that appears in this track represents the transition
between the two events.
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NOTE: A simple
dissolve appears in
the FX track as a tancolored bar. If you
drag one of GlobeCaster’s effects into
the FX track (which
we will do shortly),
the effect’s picon is
displayed. The numbers on the bar, such
as1>2, indicate the
transition will switch
from the image source
on the Video 1 (top)
track to the image on
the Video 2 (second)
track.
19
Figure 2.19: The FX Track with a Dissolve
3.
Click the Timeline button on the toolbar (Figure 2.20).
Timeline Button
Figure 2.20: The Timeline Button
4.
Click the First Frame button in the transport controls on the toolbar
(Figure 2.21).
First Frame Button
Figure 2.21: The First Frame Button
5.
Click the Play button in the transport controls on the toolbar (Figure 2.22).
Play Button
Figure 2.22: The Play Button
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Chapter 2
On the right (output) monitor, you see a smooth dissolve between the two
events instead of the cut you saw before.
At this point you have already mastered some of the basics of editing in the
GlobeCaster Editor timeline: adding events, changing their duration, and creating
transitions. The next section shows you how to easily jazz up your project by
dropping effects into the timeline.
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Adding Effects
In this section, you will use effects instead of dissolves to transition between
events. First, you will add two more events. Then, you will add three effects. Here’s
how to add effects to the timeline:
1.
Choose two more picons from the \GlobeCaster\Bins\Stills\Manmade bin.
Figure 2.23: Two Events to Add to the Timeline
2.
Drag the picons into the timeline, placing them in alternating video tracks
(Figure 2.24). Place them so the events overlap.
TIP: If the timeline
is zoomed in and you
want to see all of your
clips, right-click in a
gray area of the timeline and choose Fit
All from the pop-up
menu.
Figure 2.24: Four Events with Dissolves
3.
Right-click on an event in each overlap area, and select Create Dissolve from
the pop-up menu.
You should have three dissolves on your timeline (previous figure).
4.
Locate the following picons in the \GlobeCaster\Bins\Fx\Sampler bin.
Figure 2.25: Effect Picons
5.
Drag-and-drop each picon onto a dissolve event on the FX track (Figure 2.26).
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Chapter 2
NOTE: The GlobeCaster Editor scales
the duration of any
effect you drop on an
existing transition
event if it can. Some
effects are a fixed
length. In this case the
length of the effect
may not match the
length of the overlap
between the events,
and you need to scale
the lengths of the
clips or move them on
the timeline to fit the
effect. For information on how to trim or
move clips, see
“Building A Timeline” on page 198.
Figure 2.26: Three Effects in Timeline
You see the effects picons replace the tan-colored bars.
6.
Click the Timeline button on the toolbar (Figure 2.27).
Timeline Button
Figure 2.27: The Timeline Button
7.
Click the First Frame button in the transport controls on the toolbar
(Figure 2.28).
First Frame Button
Figure 2.28: The First Frame Button
8.
Click the Play button in the transport controls on the toolbar (Figure 2.29).
Play Button
Figure 2.29: The Play Button
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In the right (output) monitor, you see the GlobeCaster Editor play through the
timeline, performing the effects between each event.
If you want to save your timeline at this point, do the following:
1.
Click on the Timeline Picon in the toolbar (Figure 2.30).
Figure 2.30: The Timeline Picon
2.
Drag the picon into the bin where you want to save it.
Your timeline is saved. To clear the timeline, click the New button to the right
of the Timeline Picon. To reload your saved timeline, double-click on its picon
in the bin or drag it onto the timeline area.
Now that you’ve learned how to include effects in your projects, feel free to
experiment with the other effects included with GlobeCaster to see what they do.
When you’re ready, the next section shows you how to add a graphic overlay to
this timeline.
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Chapter 2
Adding A Graphic Overlay
An overlay event combines with video events, rather than replacing them. In this
section, you will add a spinning globe lower third overlay to your timeline.
First, you will change the effects you added in the last section to dissolves (some of
them use the downstream key that the overlay will need). Here’s how:
1.
Right-click on the effects and choose Replace with Dissolve from the pop-up
menu.
The effects are replaced with dissolves (Figure 2.31).
Figure 2.31: Dissolves on Timeline
2.
Locate the following picon in the \GlobeCaster\Bins\Fx\Sampler bin.
Figure 2.32: Overlay Effect Picon
3.
Drag the picon into the timeline and drop it anywhere.
A new track labeled DSK (downstream key) appears on the timeline, and the
picon is located on this track.
Figure 2.33: Graphic Overlay on Timeline
You can move this event around and increase or decrease its duration as you wish.
An overlay element appears on the video at the point in the timeline where its left
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25
edge appears, and goes away when the right edge is reached. The video is not
otherwise affected. This means that the graphic overlay can appear on top of one
or more video events.
4.
Click the Timeline button on the toolbar (Figure 2.34).
Timeline Button
Figure 2.34: The Timeline Button
5.
Click the First Frame button in the transport controls on the toolbar
(Figure 2.35).
First Frame Button
Figure 2.35: The First Frame Button
6.
Click the Play button in the transport controls on the toolbar (Figure 2.36).
Play Button
Figure 2.36: The Play Button
In the right (output) monitor, you see the GlobeCaster Editor play through the
timeline with the overlay appearing over the events where you placed it.
At this point, you’ve gotten a feel for working in the GlobeCaster Editor timeline.
If you’d like to try working with live video rather than stills, go on to the next
section.
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Chapter 2
Live Input Events
So far, you have been using stills rather than tape or live sources. You can replace
these still images with live video inputs quite easily. If your GlobeCaster has video
sources connected to inputs, do the following:
1.
Locate the following picons in the \GlobeCaster\Bins\Clips\Live bin. For
definitions of the input picons, See “Live Input Picons” on page 27.
Figure 2.37: Input Picons
2.
Drag-and-drop the picons for the inputs you have video sources connected to
onto the stills on your timeline, alternating between them. For example, if you
have sources connected to inputs 1 and 2, your timeline looks like this:
Figure 2.38: Live Events on the Timeline
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3.
27
Click the Timeline button on the toolbar (Figure 2.39).
Timeline Button
Figure 2.39: The Timeline Button
4.
Click the First Frame button in the transport controls on the toolbar
(Figure 2.40).
First Frame Button
Figure 2.40: The First Frame Button
5.
Click the Play button in the transport controls on the toolbar (Figure 2.41).
Play Button
Figure 2.41: The Play Button
You see the transitions between the live video in the right (output) monitor.
In this Quick Start, you have learned the basics of working on the GlobeCaster
Editor timeline. When you’re ready to work with your own clips, try the tutorials
in this book. They teach you to assign your decks, log clips, build more
complicated timelines, and batch digitize your clips (if you have Time Machine
installed).
Live Input
Picons
Here are descriptions of the input icons:
Live Audio 1-4—Records the audio from the source(s) connected to the audio
inputs. Picon one (1) represents the first stereo pair of audio inputs, two (2) the
second, etc.
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Chapter 2
Live Video 1-8—Records the video from the source(s) connected to the video
inputs.
Mute—Used to erase audio on the record deck. To use this icon, drag the icon on
onto the timeline (Figure 2.42). Then perform the clip to mute the record tape.
There must be overlapping audio from other sources to achieve silence.
Figure 2.42: Muted Clip
Out—Used for recursive effects. Drag this picon onto the timeline for a reverb type
sound. For best results, leave the sound between four and six decibels. Out video
recursion produces repeated video (Figure 2.43).
Figure 2.43: Using the Out Button for a Recursive Effect
EDITOR MANUAL
REFERENCE
CHAPTER 3
30
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Chapter 3
Reference
This section of the manual documents how each button, panel, and pop-up menu of the
GlobeCaster Editor software operates. The explanations of these functions are grouped
according to the following topics:
•
Introduction to the interface.......................................................... 32
•
Customizing the interface.............................................................. 34
•
Using monitor and transport controls ........................................... 43
•
Working with clips ........................................................................ 70
•
Working with timelines ................................................................. 81
•
Timeline Pop-Up Menu ................................................................. 99
•
Using advanced editing modes .................................................... 124
•
Timeline Flattening...................................................................... 135
•
Digitizing with Time Machine ..................................................... 138
•
Animating audio on the timeline................................................. 155
•
Mixing audio................................................................................ 161
•
Using options and application buttons........................................ 170
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Chapter 3
Introduction To The Interface
When you first open the GlobeCaster Editor, you see two monitors in the middle
of the top of the screen, with bins next to them on the sides of the screen
(Figure 3.1). For information on changing the interface, see “Customizing The
Interface” on page 34.
Bin
Monitor
Controls
Toolbar
Timeline
Figure 3.1: The GlobeCaster Editor Interface
The main toolbar for the GlobeCaster Editor is across the middle part of the screen
(Figure 3.2).
Clip Controls
Timeline
Audio
Monitor
Controls
Main Controls
Options Buttons
Applications Buttons
Figure 3.2: The GlobeCaster Editor Toolbar
Buttons on the toolbar are grouped according to function, as shown in the previous
figure. Options that are not currently available are grayed out. This includes
buttons for non-linear editing if Time Machine is not installed.
In addition to the toolbar buttons, there is a set of transport controls under each
monitor. These controls change for some editing modes.
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As well as the toolbar and transport control buttons, there are a number of panels
and pop-up menus that are accessed by right-clicking.
The following sections begin with an explanation of how to customize the
GlobeCaster Editor interface, and then describe the functions of each group of
buttons on the interface, as well as associated panels and pop-up menus. For
information on how to use the bins and general information on navigating in
GlobeCaster, see “The GlobeCaster Interface” and “Basic Functions” chapters in
the GlobeCaster User Guide.
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Chapter 3
Customizing The Interface
The GlobeCaster Editor interface layout is flexible, and the default layout that you
see when you first open the GlobeCaster Editor can be modified in several ways to
suit your needs. You can choose to display one, two, three, or four monitors;
change the size and number of open bins; and change the size of the timeline.
Monitors
You can choose to display two, three, or four monitors by clicking on the blue 2, 3,
or 4 buttons in the Timeline Controls on the toolbar.
Figure 3.3: The GlobeCaster Editor Interface with Four Monitors Displayed
The right monitor displays the output (timeline or record deck), and the left
monitors display inputs. When three or four monitors are displayed, they replace
the bin windows at the top of the screen.
In most of the six editing modes you can select the number of monitors you wish
to view, but in the Trans Edit (Transition Edit) mode four monitors are required
and are automatically displayed.
NOTE: Your PC
monitor must be set to
1280-by-1024 resolution to see all four
monitors. This is the
minimum resolution
required for GlobeCaster software.
To return to the layout you saw when you opened the GlobeCaster Editor, with
two monitors and bins at the top, click on the blue Add Clip button on the toolbar.
Add Clip is the default editing mode.
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You can also choose to display one large monitor by clicking on the blue View
button in the Timeline Controls on the toolbar.
Figure 3.4: The GlobeCaster Editor Interface with the View Monitor Displayed
This monitor displays the output, and is useful for reviewing the final output of
your project.
To return to the layout you saw when you opened the GlobeCaster Editor, with
two monitors and bins at the top, click on the blue Add Clip button on the toolbar.
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Chapter 3
Bins
You can also change the layout of the interface by changing the number of bins
open. One way to do this is to toggle on or off the bins at the top and bottom of the
screen. Another way to do this is to resize bins and open new bin windows.
Toggling Top and Bottom Bins On and Off
To toggle on and off the bins at the top and bottom of the screen, click on the gray
Top Bins or Btm Bins buttons on the right side of the toolbar. The Figure 3.5
shows the GlobeCaster Editor with top bins off and bottoms bins on.
Top Bins
Button
Btm
(Bottom) Bin
Button
Figure 3.5: The GlobeCaster Editor Interface with Bottom Bins Open and Top Bins Closed
To return to the default layout, click on the Btm Bins button to toggle the bottom
bins off and the Top Bins button to toggle the tops bins on.
Resizing Bins and Opening New Bins
You can also resize bins and open new ones. To do this, do the following:
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1.
Click on a corner of the bin so that the border turns white (Figure 3.6).
Figure 3.6: Clicking on the Corner of a Bin
2.
Drag your mouse upward to move the bottom edge of the bin up.
You see dark stripes in the blank area below the bin (Figure 3.7).
37
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Chapter 3
3.
Right-click in the blank area. You see a pop-up menu.
Figure 3.7: The Bin Pop-Up Menu
4.
Select New Bin Window from the pop-up menu.
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A new bin appears in the space that previously was blank (Figure 3.8).
Figure 3.8: The New Bin
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You can open new bins in the bin windows at the top and bottom of the screen.
Figure 3.9 shows the GlobeCaster Editor interface with four bins open in the top
bin windows.
Figure 3.9: The GlobeCaster Editor Interface with Four Bins Open
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Timelines
41
You can also change the size of the timeline on the interface. You might want to do
this if you want to open only one bottom bin. To do this, click on the corner of the
timeline window and drag it to resize the timeline smaller. Then right-click in the
blank area and choose New Bin Window from the pop-up menu.
You can open more than one timeline window at once, but both show the currently
loaded timeline. This could be handy if you want to see two sections of a single
timeline on the screen at the same time. To do this, repeat the steps above, except
select New Timeline Window from the pop-up menu. You can open timelines in
the bin areas at the top of the screen, but because this space is narrower it is more
likely that you’ll want to open them in the bin/timeline area across the bottom of
the screen.
Figure 3.10 shows the GlobeCaster Editor interface with two windows of the same
timeline open.
Figure 3.10: The GlobeCaster Editor Interface with Two Views of the Timeline
Once you have the interface set up the way you want, you can save the layout (as
you can in all GlobeCaster applications). To do this, right-click in the gray area at
the bottom of a bin and select Save Layout from the pop-up menu. A picon
representing the layout appears in the bin (Figure 3.11). Saving the layout also
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saves any bin sorting and picon display options you have selected. (For
information on how to set bin properties, see the GlobeCaster User Guide.)
Saved
Layout
Picon
Figure 3.11: Picon for a Saved Layout
As in all GlobeCaster applications, you can set up any number of layouts, one for
each project if you want. The GlobeCaster Editor opens with the last layout you
saved. If you want a different layout, double-click on the picon for that layout.
Now that you know how to set up the interface to suit your needs, the following
sections will explain the functions of the buttons on the interface, as well as
associated panels and pop-up menus.
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43
Using Monitor And Transport Controls
Control buttons under each monitor and on the toolbar allow you to create and
edit clips. Transport controls allow you to control your RS-422a decks and to play
digitized clips if you have Time Machine installed.
The Main Controls on the toolbar control the source that is selected there:
Timeline, Recorder, or Source. If Source is chosen here, and you have three or
four monitors displayed, the Main Controls manipulate the active source. Select
which one is active by clicking on the monitor panel’s Source Type button.
The right monitor is the output monitor. The controls under that monitor control
either the timeline or record deck, and are the same for both outputs. The other
monitors display input sources, which you select from a pop-up menu. The
controls under these monitors change depending on which editing mode is
selected. The following sections explain how to use the various monitor and
transport controls.
Main
Controls
The Main Controls are the blue buttons (yellow when they are turned on) in the
center of the toolbar. They control the source you select, Timeline, Recorder, or
Source.
Timecode Window
Shuttle Slider
Source
Type
Button
Tape
Name
Button
Source Status
Message Area
Figure 3.12: The Main Controls
Here’s how the Main Control buttons work:
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Timeline
Selects the timeline as the source controlled by these
transport buttons, allowing you to play through the
timeline. Selects program out to be played on the
external monitor and on the on-screen monitor.
Fades out audio from other sources that may be
playing at the same time.
If you are doing non-linear editing (you have Time
Machine installed), you can scrub through
everything on the timeline. If you are doing linear
editing, these buttons allow you to see transitions
and stills. The clips themselves, however, do not play
in order to save wear and tear on your VTRs.
However, if you would like to scrub through your
clips, you can do so by turning on Tape Scrub in the
Editor Options panel (see “Tape Scrub” on page 95
for information on how to do this).
Recorder
Selects a record deck as the source controlled by
these transport buttons. Selects the video from the
record deck’s input module to be played as program
out on the external monitor and the on-screen
monitor. Plays audio from the record deck.
If you have more than one record deck, right-click on
the Recorder button to select the record deck you
want to activate from the pop-up menu. (If you do
not see the deck you want listed, check its
configuration in the Serial Devices panel. Since it is a
record deck, make sure you have assigned it an
output slot. For more information on the Serial
Devices panel, see the “Using Configure Panels”
chapter in the GlobeCaster User Guide.)
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Source
Sets the active input source as the source controlled
by these Main Controls. Selects that source as
program out to be played on the external monitor.
Fades in audio of the source has audio.
When you click on this Source button in the Main
Controls, the Source Type button under the left
monitor(s) lights up (Figure 3.13).
Figure 3.13: The Source Type Button Under the Left Monitor
Whichever source you have the Source Type button
under the left monitor set to (Source A, Source B,
Source C, Clip, Frame, Matte, or Black), is now the
source controlled by the Main Controls.
Source A, Source B, and Source C are your input
decks. Before you can switch between them here, you
need to assign which deck is Source A, B, or C. To
assign decks as Source A, B, or C, first right-click on
the Source Type button (upper left button) under
one of the left monitors and choose Source A (or B
or C) from the pop-up menu. Then move down to
the Main Controls and right-click on this Source
button. From the pop-up menu, choose the deck you
would like to assign.
For example, to assign a deck as Source A, do the
following:
Right-click on the Source Type button under one of
the left monitors (Figure 3.14.
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Figure 3.14: Right-Clicking on the Source Type Button
Under a Left Monitor
Select Source A from the pop-up menu.
Right-click on the Source button in the Main
Controls (Figure 3.15).
Figure 3.15: The Source Button in the Main Controls
A pop-up menu listing your decks appears.
Figure 3.16: The Source Button Pop-Up Menu
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If the deck you want is not listed, check its
configuration in the Serial Devices panel. For more
information on the Serial Devices panel, see the
“Using Configure Panels” chapter in the GlobeCaster
User Guide.
Select the deck you wish to assign as Source A from
the pop-up menu.
The deck you selected is now assigned as Source A.
Once you have assigned your source decks, you can
switch between them by choosing Source A, B, or C
from the Source Type buttons under the left
monitors.
TIP: The GlobeCaster Editor disables all controls on
the source panel if it is unable to use the deck. It
displays a message indicating the nature of the
problem. After assigning a deck to a source, the
controls may remain disabled if, for example, the
deck has no tape in it or the tape needs to be named.
Tape Name
(Frame,
Record #,
Reel #, Clip)
Lists the name of the active source/output. Click on
it to see a pop-up menu listing the loaded sources.
In the example at the beginning of this section, the
source is an unnamed framestore, and the default
name is Frame. Other defaults are Record # for a
record tape, Reel # for a source tape, and Clip for a
digitized clip. To choose an input or record tape
already used, click on this Tape Name button and
choose the item from the pop-up menu.
You can click on this button to see a pop-up menu
listing the sources of the active type (selected with
the Source Type button; see previous definition)
loaded into each monitor. Load files into a monitor
by clicking on them or dragging them from a bin into
a monitor. (Whether you single-click or double-click
to load files into monitors depends on the setting you
select for Load files to source in the Editor Options
panel. For information on this function, see “Editor
Options Panel” on page 93.) For framestores, matte
colors, and digitized clips, each monitor has a
separate list of files loaded into it. For deck sources,
however, all tapes assigned for a project are listed so
you can swap tapes around in your decks as you
wish.
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TIP: You can quickly switch between loaded files by
selecting them from this pop-up menu. Then, you
can adjust their length by using the Duration
timecode box, and click Splice to place them on the
timeline.
You can replace the default names of tapes and clips.
It is particularly important to name source tapes so
the GlobeCaster Editor (and you) can keep track of
them. If several of your source tapes are named Reel
2, for example, the GlobeCaster Editor assumes they
are the same tape and cannot distinguish between
them when assembling a timeline. To avoid this, it is
best to give the tape the same name in the
GlobeCaster Editor as the name that appears on the
spine of the tape.
To name a source tape, do the following:
Set the Source Type button under the left monitor
(Figure 3.17) to one of your source decks, Source A,
Source B, or Source C.
Make sure the Source button (see the previous
definition for an explanation of this button) is on.
Figure 3.17: The Source Button in the Main Controls
Click on the Tape Name button (Figure 3.18).
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Figure 3.18: Clicking on the Tape Name Button
The Tape Properties pop-up menu appears
(Figure 3.19).
Figure 3.19: The Tape Properties Pop-Up Menu
Choose New Tape from the pop-up menu.
The GlobeCaster Editor assigns a default name to the
tape (Reel #), which appears on the Tape Name
button.
To change the default name, click on the Tape Name
button again and choose Tape Properties from the
pop-up menu.
The Tape Properties panel appears (Figure 3.20).
(See “Tape Properties Panel” on page 56 for
information on how to use this panel).
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Chapter 3
Figure 3.20: The Tape Properties Panel
Type in the name of the tape (the example uses
DemoTape) in the box above Tape Name.
The name of the tape appears on the Tape Name
button.
The tape name is also now listed on the pop-up
menu (Figure 3.21).
Figure 3.21: The Tape Name on the Pop-Up Menu
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To delete the name of a tape from the Tape
Properties pop-up menu, click on the Options
button on the right side of the GlobeCaster Editor
toolbar. This opens the Editor Options panel
(Figure 3.22).
Remove
Unused
Tapes
Button
Figure 3.22: The Editor Options Panel
Click on the Remove Unused Tapes button.
For information on how to rename a clip, see
“Current Clip Picon Pop-Up Menu” on page 72.
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Track 1,
Track 2,
Track 3
Determines which track of the timeline clips are
placed on when you use the Splice, AutoSplice, or
Overwrite buttons. (For an explanation of these
buttons, see “Right Monitor Controls” on page 59.)
Click on the Track button and select the track you
want from the pop-up menu. (You only see the popup menu if you are using more than one video track
on the timeline.) You can also use this feature if you
want to split a clip on the timeline where there are
clips in more than one track. Click on this button to
select the track of the clip you want to split from a
pop-up menu. Then place the Position Bar where you
want to split the clip, and click the Split button or
press Control + s on the keyboard. Or, you can rightclick on the clip you want to split, and choose Split
at PosBar from the pop-up menu. In this case, you
do not need to use the Track buttons, because the
clip you right-click on is the one that is split.
Video, A1, A2,
A3, A4
These are master record safes, turning off the ability
to record to the record tape. If these buttons are
lighted, that channel is recorded over. For most
applications, these buttons should be left on, or your
master won’t match your timeline. Turning these
buttons off could be useful if, for example, you
already have audio laid down on the record tape and
want to prevent recording over the audio. Buttons
that are grayed out are not active for your deck
configuration. Turn them on in the Serial Devices
configure panel (for information on how to use this
panel, see the GlobeCaster User Guide).
Timecode
Window
Displays the position of the current source.
Shuttle Slider,
Lock Button
Used just like a shuttle control on a deck. The further
the slider is pulled from the center, the faster the tape
travels. Tapes can be shuttled backward or forward. If
the Lock button is on, the slider snaps back to center
(and pauses the tape) when you stop dragging it.
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Transport
Controls
Control the selected device. The buttons, in order
from left to right, are:
First Frame
Moves to the first frame.
Rewind
Rewinds
Reverse Play
Plays in reverse
Jog Back 1 Frame
Moves back one frame at a time
Pause
Puts deck in Pause mode, pausing playback if the
deck is rolling, or spooling the tape so it is ready to
play if the deck is stopped.
Jog Forward 1 Frame
Moves ahead one frame at a time
Play
Plays normally
Fast Forward
Fast forwards
Last Frame
Moves to the last frame
Stop
One click stops the current source; two clicks
despools the tape
TIP: Usually the space bar acts as All Stop for all
decks or processes in progress. However, if the
Timeline is selected as your output, it toggles
between Play and Pause.
Source Status
(Stopped)
Displays the status of the selected source. In the
example at the beginning of this section, this is
Stopped.
Eject
Ejects the tape in the deck currently being
controlled.
All Stop
Stops all controlled equipment or processes in
progress, such as timeline assembly or digitizing
clips.
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Message Area
Lists important messages. If your decks don’t
respond properly, check here to see what the problem
is and how to resolve it. This is also where you see
prompts to swap source tapes. If the message is too
long to read all of it, right-click on the message area
and it brings up the message in a pop-up box.
OK
Clears messages in the Message Area.
Preview
Shows what an edit looks like without actually
recording it. The type of preview performed depends
on the Preview Mode selected in the Editor Options
panel (see “Editor Options Panel” on page 93). To
use this, select one or more events on the timeline,
then click Preview. You must have a striped tape in
the record deck and set the in point for the record
deck in order to use this function. (See “Striping A
Tape” on page 189 and “Setting the Recorder’s In
Point” on page 198 for instructions on how to do
these.)
Review
Plays back and reviews the edit that was just laid
down onto the master tape. Or, reviews the spot on
the record tape that is about to be recorded over.
To check what is on your record tape before laying
down a clip in that spot, click on a clip on the
timeline to select it, then click the Review button.
On the output (right) monitor, you see what is on the
record tape at the timecode where the new clip
would be recorded.
Perform
Records individual edits to the master tape. When
you select clips or effects and click Perform, the
GlobeCaster Editor records just those events from
the timeline. (To select multiple clips or events, hold
down the Control key and click on the items.) As
edits are performed, the Validation Bar at the top of
the Timeline changes color to reflect the sections that
have already been laid down to the master. Green
sections have been recorded, red sections have not.
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Assemble
Assembles (records) the entire timeline, or
whichever events haven’t already been recorded. You
can tell which events have been recorded by looking
at the Validation Bar above the timeline. Green
sections have been recorded, red have not.
If you have already recorded some events on the
timeline, but you want them to be re-recorded the
next time you assemble the timeline, you can click
on Reset timeline for assembly in the Editor
Options panel. In this panel you can also choose
between two modes for assembling timelines,
Sequential or Checkerboard (see “Editor Options
Panel” on page 93 for information on how to use this
panel).
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Tape Properties
Panel
In the Tape Properties panel, you can name tapes, record data about them, or
access the Tape Audio Properties panel. To access the Tape Properties panel, click
on the Tape Name button in the Main Controls (Figure 3.23).
Tape Name
Button
Figure 3.23: Clicking on the Tape Name Button
Select Tape Properties from the pop-up menu. The Tape Properties panel
appears.
Figure 3.24: The Tape Properties Panel
Here’s how to use the panel:
Tape Name
Type in the name of the tape and press Enter in
your keyboard. It appears on the Tape Name
button, and on the Tape Properties pop-up menu.
After you change a tape’s name, the GlobeCaster
Editor searches the current project and changes all
clips logged from that tape so that your clips
remained linked to the correct tape.
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Recordable
Designates a tape as a record tape. This light must
be on in order to record to a tape. However, if you
use the default Record1 name for the tape in your
record deck, this button is automatically turned on.
Turning on this button also adds the name of the
record tape from the current timeline to the tape list
when you create a new timeline.
Audio
Properties
Opens the Tape Audio Properties panel, where you
can set the audio levels the tape (see “Tape Audio
Properties Panel” on page 161). The levels you set
here apply to all clips made from the tape, unless
you set different levels for individual clips in the
Clip Audio Properties panel (see “Clip Audio
Properties” on page 164).
Be sure to set the audio properties before you log
clips. Changing the properties does not affect clips
that have already been logged.
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Chapter 3
Name, Value
These fields give you a place to record notes about
your tapes. You can create any category you want in
the Name field, and enter your notes in the Value
field.
To use this feature, in the Name field type in the
name of attributes regarding the tape, such as Date,
Created By, Project Name, Storage Location, etc.
Then, type in the information for the attribute in
the Value box. For example, if you typed in Date in
the Name field, enter the date, such as 2/29/00, in
the Value field.
The attribute from the Name field appears in the
display window above these two fields. Click on an
attribute to select it. The selected attribute has a
check mark next to it, and you see the information
entered in the Value box. A scroll bar appears to the
right of the window if needed.
Figure 3.25: The Name and Value Fields
and Display Window
Delete
Deletes the selected attribute. The selected attribute
has a check mark next to it in the display window
above the Name box.
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Right Monitor
Controls
59
Generally, the right monitor displays your output. The transport controls under
the right monitor allow you to control the source you select there, Recorder or
Timeline. You can also set it to Off. In the advanced editing modes, the right
monitor displays frames from your clips to assist in specific editing tasks. In this
case, the controls also change according to the function of the editing mode (see
“Using Advanced Editing Modes” on page 124 for information on the monitor
controls in these modes).
Figure 3.26 shows the right monitor controls in the default editing mode, Add
Clip.
Current
Position
In Point
Out Point
Figure 3.26: The Right Monitor Transport Controls
Here’s how these buttons work:
Timeline/
Recorder/
TM Recorder/
Off
Selects which output is displayed by the monitor
and controlled by its buttons. The right monitor
displays the timeline or the record deck. Right-click
on the button to select Timeline, Recorder, TM
Recorder, or Off from the pop-up menu. The Off
option is provided in case you do not want to watch
the tapes shuttling while the timeline is assembled.
When you select TM Recorder, the Time Machine
Recorder Panel is displayed. For more information
on this panel, see “Time Machine Recorder Panel”
on page 64.
Timecode
Window
Indicates the timecode on the VTR currently being
controlled. Timecode is in standard SMPTE format
(HH:MM:SS:FF).
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Mark In/
Mark Out
Replaces the selected clip in the timeline with one
that you mark. For example, you can click on a clip
on the timeline so that it is selected, adjust the in
and/or out point of the clip, then click Replace. The
new version of the clip replaces the original one on
the timeline. Changing the in point of the clip will
move the start point of the clip on the timeline, and
changing the out point of the clip will change the
clip’s end point on the timeline. Modifying only the
in point or only the out point will change the clip’s
duration; modifying both may also change the
duration.
You can also use the Replace button in conjunction
with a source’s in point, out point, and duration
timecodes to trim an event on the timeline. When
you click on an event on the timeline, the Source
Type button under the active left monitor changes
to match the event type: Source A (or B or C) for a
linear clip, Clip for a digitized clip, Frame for a
framestore, etc. You can type in the source in and
out points you want for the event in the In Point
and Out Point timecode boxes to slip the source.
You can also type in the duration you want for the
event in the Duration timecode box under the left
monitor and click the Replace button. The new
version of the event, of the duration you specified,
replaces the previous one on the timeline. This
method is convenient when you want to trim an
event to a precise length.
Using both monitors’ In Point timecode boxes and
the Replace button is similar to using the mouse to
drag the left handle of the clip in the timeline.
In Point/Out
Point
Timecode
Displays the in and out points of a selected item, or
the timecode of the in and out points on the timeline
that you mark with the Mark In, Mark Out
buttons. You can also enter the desired timecode
here and press the Enter button on your keyboard
to set the in and out points.
Splice
This button becomes active when a clip is created.
Clicking this places the newly created clip into the
timeline at the position of the Position Bar. It splits
any existing clip, placing the remainder of the
existing clip at the end of the new clip. If the Ripple
button on the toolbar is turned on, any existing clips
beyond the spliced one are moved down the
timeline (see “Ripple” on page 90 for information on
this function).
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AutoSplice
Automatically places clips onto the timeline at the
Position Bar as you log them. You can use this when
logging clips from either linear or digitized sources.
Click the Mark In and Mark Out buttons to log the
clips. Your clips appear on the timeline as you mark
them.
Overwrite
Splices in a newly created clip at the Position Bar,
but instead of moving existing clips down the
timeline, it overwrites what was after the Position
Bar for the duration of the clip being added.
Auto3Pnt
(Auto 3 Point)
Used for three-point editing. This means that once
you define three of the four timecode points relating
to the clip (in and out point on the source tape, and
in and out point on the timeline), the GlobeCaster
Editor automatically places the clip on the timeline.
The GlobeCaster Editor always calculates the fourth
point, but when Auto 3 Point is on it automatically
places the clip on the timeline after you mark the
third point.
For example, you can mark the in and out points of
your clip, and then mark the in point on the
timeline where you want it to start. Since the
GlobeCaster Editor already knows the duration, it
can calculate the out point on the timeline and place
the clip in the correct spot. Or, you can mark the in
and out points on the timeline where you want the
clip to go, and then mark the in or out point of the
clip. Since the GlobeCaster Editor knows the
duration from the timeline timecode, it can calculate
the other point for the clip and place it on the
timeline.
AutoBatch
Automatically adds clips to the Batch List in the
Batch Digitize window for later digitizing as you
mark them. When using AutoBatch, you must click
the New Clip button (top right) in order to clear the
previous clip before logging the next clip, unless you
click Splice or Overwrite.
Sending your clips to the Batch Digitize window
does not save them. To save them, you must open
the Batch Digitize window and either digitize the
clips or save the To do list before exiting the
GlobeCaster Editor. See “Digitizing With Time
Machine” on page 138 for information on how to
use the Batch Digitize window.
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New Clip
Clears the settings so you can create a new clip. If
you are logging clips from a source deck, this resets
the Clip Properties to the default for the tape.
You must click this button if a source panel contains
information about an event selected on the timeline
and you wish to mark a new clip.
Cue In
Shuttles the Position Bar in the timeline or moves
the record tape to the timecode in the window to the
left. Or, you can enter a timecode in the timecode
display window to the left, then click Cue In. The
Position Bar jumps to this point.
Cue Out
Shuttles the Position Bar in the timeline or moves
the record tape to the timecode in the window to the
left. Or, you can enter a timecode in the timecode
display window to the left, then click Cue Out. The
Position Bar jumps to this point.
Replace
Replaces the selected clip in the timeline with one
that you mark. For example, you can click on a clip
on the timeline so that it is selected, adjust the in or
out point of the clip, then click Replace. The new
version of the clip replaces the original one on the
timeline.
This is different in the 1.2 version, in which the
changes to the in and out points are applied to the
clip on the timeline as they are marked.
You can also use the Replace button in conjunction
with a source’s Duration timecode to trim an event
on the timeline. When you click on an event on the
timeline, the Source Type button under the active
left monitor changes to match the event type:
Source A (or B or C) for a linear clip, Clip for a
digitized clip, Frame for a framestore, etc. You can
type in the duration you want for the event in the
Duration timecode box under the left monitor and
click the Replace button. The new version of the
event, of the duration you specified, replaces the
previous one on the timeline. This method is
convenient when you want to trim an event to a
precise length.
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AutoSave
Automatically saves clips in the default clips bin (set
under Global Settings) as they are marked. Mark the
in point of the clip, then the out point, and it
appears in the designated bin. Then click the New
Clip button before logging your next clip. (For
information on how to use the Global Settings
panel, see the “Using Configure Panels” chapter in
the GlobeCaster User Guide.)
Right Monitor
Transport
Controls
Control the selected device. The buttons, in order
from left to right, are:
Rewind
Rewinds
Reverse Play
Plays in reverse
Jog Back 5 Frames
Moves back five frames at a time
Jog Back 1 Frame
Moves back one frame at a time
Pause
Puts deck in Pause mode, pausing playback if the
deck is rolling, or spooling the tape so it is ready to
play if the deck is stopped
Jog Forward 1 Frame
Moves ahead one frame at a time
Jog Forward 5 Frames
Moves ahead five frames at a time
Play
Plays normally
Fast Forward
Fast forwards
Stop
One click stops the current source; two clicks
despools the tape
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Time Machine
Recorder Panel
The Time Machine Recorder Panel allows you to record an input directly into the
Time Machine.
Timecode Window
Source Button
New Clip
Button
Input
Button
Figure 3.27: Time Machine Recorder Panel
Here is how the buttons work:
Source Button
Allows you to return to the Timeline, Recorder, or
Off mode.
Timecode
Window
Provides an estimate of how much time has been
recorded.
New Clip
Button
Creates a new clip.
Input Button
Allows you to select which input source is recorded.
Ch 1/2
Allows you to choose which physical audio input to
record.
Record Button
Allows you to record.
Stop Button
Allows you to stop recording. When you stop
recording, the picon of the recorded clip is placed in
the Clip Controls on the main tool panel. You can
drag-and-drop the picon into any bin, save it to the
clips directory, or click on the properties to check
its properties.
Insert Video,
A1 & A2
Allows you to select which component is recorded.
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Left Monitor
Controls
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The left monitors display input sources, whether tapes in your source decks,
digitized clips (if Time Machine is installed), framestores, matte color, or black.
The controls for the left monitor change depending on which of the six editing
modes is selected. This section describes the controls for Add Clip mode, the
default editing mode. This mode functions similar to the GlobeCaster Editor 1.2
version, and is used for logging clips and building timelines.
The advanced editing modes, Trim Clip, Trim Edit, Slip Source, Slide, and
Transition Edit, are used for fine-tuning and precision editing. For information on
the monitor controls in the advanced editing modes and how to use these editing
modes, see “Using Advanced Editing Modes” on page 124.
Figure 3.28 shows what the left monitor controls look like in Add Clip mode with
a digitized clip selected as the source.
Current Position
Source
Type
Button
In Point
Out Point
Duration
Figure 3.28: The Left Monitor Controls in Add Clip Mode
Here’s how the left monitor control buttons work in Add Clip mode:
Source Type
Button
Right-click on the Source Type button under one
of the left monitors.
(Source A,
Source B,
Source C, Clip,
Frame, Matte,
Black)
Figure 3.29: Clicking on the Source Type Button
Under the Left Monitor
A pop-up menu appears (Figure 3.30).
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Figure 3.30: The Monitor Source Type Pop-Up Menu
Source A
Select this item for a deck source.
Clip
Select this item for a Time Machine clip.
Frame
Select this item for a Framestore.
Matte
Select this item for a Matte.
Black
Select this item for Matte Black.
Live
Select this item for a live source.
Details
Toggles the detailed deck information off or on.
Always show
Original Source
In & Out
Used with a Time Machine clip. Although a Time
Machine clip has an in-point of 0 and an endpoint that corresponds to the duration of the
clip, the footage it represents may start in the
middle of the source tape. At certain points, it
may be more convenient to use the Time
Machine Clip’s in and out points, while at other
times it may be more helpful to use the original
source’s in and out points. Selecting this menu
item toggles between the two options.
Timecode
Displays current timecode of the selected source.
Shuttle Slider,
Lock Button
Used just like a shuttle control on a deck. The
further the slider is pulled from the center, the
faster the tape travels. Tapes can be shuttled
backward or forward. If the Lock button is on,
the slider snaps back to center (and pauses the
tape) when you stop dragging it.
You can also use the slider in the Main Controls
to shuttle the active source.
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Mark In/
Mark Out
Used for logging clips. As a source (tape or
digitized file) is played, clicking Mark In logs
the in point, and clicking Mark Out logs the out
point. When using a tape as the source, the tape
must be named before these buttons function
(see “Tape Name” on page 47 for instructions on
how to name tapes). When you click Mark In, a
picon of the first frame appears in the Current
Clip picon in the toolbar (Figure 3.31).
Figure 3.31: The Current Clip Picon
In Point/Out
Point Timecode
Displays the in and out points of a selected item.
Mark the in and out points of a clip by cueing to
the desired point and clicking the Mark In,
Mark Out buttons. Or, you can enter the desired
timecode here and press the Enter button on
your keyboard to set the in and out points.
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Duration
Displays the length of the selected source in
timecode. Type in a timecode and press Enter on
your keyboard to change the duration.
For framestores, matte color, and black, you can
set a default length. To do this, right-click on the
Duration timecode box. A pop-up menu
appears.
Figure 3.32: The Duration Box Pop-Up Menu
Choose Save as default value to set the default
length for framestores, matte color, and black.
Choose Reset to default value to change a
duration you modified back to the default.
Choose Save as minimum effect length to
specify the default length of a loaded effect in a
timeline. This only applies to variable length
effects.
Cue In
Shuttles the source to the position shown in the
In Point timecode box.
Cue Out
Shuttles the source to the position shown in the
Out Point timecode box.
-/+
Increases or decreases the length of the source by
1 second.
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Left Monitor
Transport
Controls
Control the selected device. The buttons, in
order from left to right, are:
Rewind
Rewinds
Reverse Play
Plays in reverse
Jog Back 5 Frames
Moves back five frames at a time
Jog Back 1 Frame
Moves back one frame at a time
Pause
Puts deck in Pause mode, pausing playback if the
deck is rolling, or spooling the tape so it is ready
to play if the deck is stopped
Jog Forward 1 Frame
Moves ahead one frame at a time
Jog Forward 5 Frames
Moves ahead five frames at a time
Play
Plays normally
Fast Forward
Fast forwards
Stop
One click stops the current source; two clicks
despools the tape
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Working With Clips
Settings affecting clips can be adjusted using the Clip Controls, the Clip Main
Properties panel, and the Color Correction panel. This section explains how to
access and use these functions.
Clip Controls
The Clip Controls are the green buttons (yellow when they are turned on) on the
left side of the toolbar. They are used to save clips, move them on the timeline,
digitize them, and open other panels for working with clips.
Figure 3.33: The Clip Controls
Here’s what these buttons do:
Properties
Brings up the Clip Main Properties panel,
where you can set basic properties of the clip,
such as play speed, which audio and video
channels are recorded, and color correction. See
“Clip Main Properties Panel” on page 75 for
information on how to use this panel.
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Current Clip
Picon
The picon of the currently selected clip. When a
clip is first generated, the first frame of the clip
is turned into a picon to represent the clip. This
picon can be dragged into a bin or dropped
right onto the timeline. By right-clicking on the
Current Clip Picon, you can choose a new
frame to represent this clip by selecting Set
Picon from the pop-up menu. You can also
rename or delete the clip from this pop-up
menu. See the next section, “Current Clip
Picon Pop-Up Menu,” for information on how
to do this.
The picon can be used for other sources as well:
Framestores, ClipMems, etc. You can select a
source and then use the picon to drag-and-drop
a copy of the source onto the timeline in a
different location, or copy over an existing
source.
Furthermore, you can select an effect and its
picon will be shown. You can drag-and-drop a
copy of the effect onto the timeline in a
different location, or copy over an existing
effect. Additionally, you can drag-and-drop the
effect picon into a bin and save the current
properties as a .lfx (linear effect) file. Note that
this does not create a copy of the effect file; only
a reference to the effect and the properties
associated with it are saved.
Save
Saves the current clip in the
GlobeCaster\Bins\Clips directory, or whatever
directory you set in the Global Settings panel.
For information on how to use the Global
Settings panel, see the “Using Configure
Panels” chapter in the GlobeCaster User Guide.
Lift
Removes the selected clip from the timeline,
leaving a space.
Extract
Removes the selected clip and closes the gap in
the timeline where the clip was.
Split
Splits the selected clip or still at the Position
Bar. Same as Split at PosBar on the timeline
pop-up menu, or Control + s on the keyboard.
TIP: You can use Control + s to split clips and
stills as the timeline plays back.
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Merge
If two clips are from the same source tape and
have contiguous timecode (as the halves of a
split clip would), this merges the clips back
together. To use this, click on the first clip to
select it, then click on the Merge button.
Digitize
Digitizes selected clips (if Time Machine is
installed). Each clip has a default of 1 second of
trim room at the head and tail of the clip.
Digitized clips are shown as dark blue on the
timeline. They are saved on the Time Machine
hard drives. You can create shortcut picons for
Time Machine clips and save them in any bin by
dragging the clip picon into the bin.
Undo
Undoes any timeline change and most Clip
Properties panel changes, in reverse sequence.
Redo
Redoes undone timeline changes and most Clip
Properties panel changes, in reverse sequence.
Only Disk,
Use Freeze
Only Disk limits the extension of a digitized
clip to the length of the 1-second trim room at
each end of the clip. In other words, it cannot
extend past the information saved to disk. If
this is turned off, the clip can be extended
beyond the trim room. However, the clips must
then be re-digitized from its original source
tape.
Use Freeze allows a digitized clip to be
extended beyond the trim room by using a
freeze-frame of the first or last frame to fill the
extra time.
Batch
Current Clip
Picon Pop-Up
Menu
Opens the Batch Digitize window, where you
can select settings for individual clips and
digitize selected clips in a batch. See “Digitizing
With Time Machine” on page 138 for
information on how to do this.
The Current Clip Picon pop-up menu has options that allow you to rename or
delete a clip, create a new picon to represent the clip, or open the Clip Main
Properties panel.
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To access the panel, right-click on the Current Clip picon in the Clip Controls.
Figure 3.34: The Current Clip Picon Pop-Up Menu
The pop-up menu has the following options:
Properties...
Brings up the Clip Main Properties panel, where
you can set basic properties of the clip, such as play
speed, which audio and video channels are
recorded, and color correction. See the following
section for information on how to use this panel.
Rename
Allows you to assign a new name to the selected
clip. Once you select this option from the pop-up
menu, a cursor appears at the end of the name of the
clip on the Current Clip picon. You can add to the
existing name, or you can use the backspace delete
key to delete the existing name and type in a new
one. Up to two lines of a clip name are displayed at a
time.
As with any file, you can also rename clips by rightclicking on the picon in the bin and selecting
Rename from the pop-up menu, but be careful not
to delete the file name extension.
NOTE: File names starting with an underscore (_)
are hidden names and are not displayed on the
picon in the bin.
Delete
Deletes the selected clip.
Set Picon
Creates a new picon to represent the clip. If your
GlobeCaster has a ClipGrab card, the new picon is
taken from the active monitor on the interface,
giving you flexibility to choose the image. If you do
not have a ClipGrab card, the frame displayed on
the Program monitor when this button is clicked is
the new image for the picon.
If an event is selected on the timeline, its picon is
also updated.
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Record to
hard drive
This option appears if the clip is a linear clip. It
creates a ClipMem, a bit of digitized video recorded
to the RAM on the Warp Engine card and stored on
the PC hard drive. This is useful if you do not have a
Time Machine. It allows you to store a short clip of
uncompressed digitized video and then use it for
rotoscoping, animation, transitions between clips
on the same source tape, etc. The amount of video
storage you have depends on the amount of RAM on
your Warp Engine. With 128 MB of RAM (the
maximum) you can record just over 6 seconds of
video. The standard 16 MB of RAM records 20
frames, or 2/3 of a second. If the clip you want to
record to the hard drive is longer than the capacity
of the RAM, the GlobeCaster Editor creates multiple
ClipMems.
This option is the same as the Record to Harddrive
option on the Timeline pop-up menu (see “Timeline
Event Pop-Up Menu” on page 99).
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Clip Main
Properties
Panel
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The Clip Main Properties panel is where you set the basic properties of a clip,
such as play speed, which audio and video channels are recorded, and color
correction. Access the panel by clicking on the Clip Props button in the Clip
Controls, or by right-clicking on a clip on the timeline or the Current Clip picon
and choosing Properties from the pop-up menu.
Panel Button
Figure 3.35: The Clip Main Properties Panel
Here’s how to use the panel:
Panel Button
Click on this to bring up a pop-up menu. You can
choose Clip Main Properties (the current panel) or
Clip Audio Properties to open that panel. For
information on the Clip Audio Properties panel, see
“Clip Audio Properties” on page 164.
Reel
Lists the name of the tape that the clip was recorded
from.
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Record
Sets which channels of the clip are recorded. Only V
affects what appears in the timeline. To create an
audio-only clip, turn off the V (video) button. To see
the audio tracks, click on the + next to the name of
the video track to the left of the timeline. To disable
audio for the clip, turn off the A1 and A2 buttons
(and A3 and A4 if applicable). This also turns them
off on the Clip Audio Properties panel (see “Clip
Audio Properties” on page 164 for information on
this panel). Once the video is turned off, to turn it
back on right-click on the audio clip on the timeline
and select Properties to open the Clip Main
Properties panel.
Audio Edit
Lock
Locks or unlocks the audio track with the video.
Turning this off allows you to move the audio
independently of the video in order to do split audio
edits. To see the audio tracks, click on the + next to
the name of the video track to the left of the timeline.
When the Audio Edit Lock buttons are off, you see
grab bars on the ends of the audio clips on the
timeline. You can unlock either the beginning (In) or
end (Out) of an audio track, or both. Turning these
buttons off also turns the channel buttons off on the
Clip Audio Properties panel (see “Clip Audio
Properties” on page 164 for information on how to
use this panel).
Play Speed
Adjusts the playback speed and direction for nonlinear clips. Clicking on the button brings up a popup menu with the following options: 8x Rev
(Reverse), 4x Rev, 2x Rev, Reverse, Half Rev,
Quarter Rev, Quarter Fwd (Forward), Half Fwd,
Normal, 2x Fwd, 4x Fwd, 8x Fwd.
Loop Count
An easy way to repeat a non-linear clip over and over.
Enter the number of loops you want, and the clip
automatically loops that many times. The new
duration is automatically reflected in the length of the
clip on the timeline.
Rate
Sets the strobe rate for a clip, either linear or nonlinear (see Strobe below).
Compression
Ratio
Displays the compression level used for Time
Machine clips. This is the relative compression
setting (Default, 1, 2, 3, 4, 5, or 6) selected when the
clip was digitized. For more information on
compression levels, see “Digitizing With Time
Machine” on page 138.
Run
Default setting, which plays the clip normally.
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Color
Correction
Panel
Freeze
Freezes the first frame of a clip and holds it for the
duration of the clip.
Strobe
Stutter-steps the clip as if a strobe light was going off.
The rate can be set in the Rate window (see above).
Setup
When a clip is selected, clicking on this brings up the
Color Correction panel, where you can correct color
problems in the clip or create special color effects.
Changes you make are saved for this clip when you
close the panel. See the following section for
information on how to use this panel.
Use Tape
Default
Resets color correction settings to the default settings.
Use this if you tried to adjust the color for a clip but
decide the default color looked better.
Set as Tape
Default
Applies current color correction settings to all clips
subsequently made from a given tape.
Copy to all
clips from
same tape
Applies current color correction settings to all clips
(both those already made and those made
subsequently) from a given tape.
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This panel is used to correct for inconsistencies in the colors of your inputs. If
videotape on input 3 looks too dark, this is the place to correct it. Color correction
settings can also be used to create all kinds of special effects, such as posterization
and solarization.
To access the Color Correction panel, click on the Setup button on the Clip Main
Properties panel, or click on the Configure button in either the GlobeCaster
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Chapter 3
Switcher or the GlobeCaster Editor programs and select Color Correction from
the pop-up menu.
Color Picon
Figure 3.36: Color Correction Panel
To save the values you set as the default settings, close the panel. The settings are
automatically saved.
To save the values as a separate file to be used on a special-case basis, drag the
color picon to a bin and save it. The values can then be called up by dragging the
picon onto an input module number (1-8) on one of the busses in the Switcher.
Or, you can open the Color Correction panel, select the input module number you
want, and then drag the picon from the bin back onto the color picon on the panel.
To get rid of the changes you made, click on the Reset button. The values return to
the original defaults. Or, click on the Revert button. The values revert to the last
settings you saved.
Here’s how to use the settings:
Input
Indicates the number of the input source being
adjusted. Each input can be adjusted independently.
To select another input to adjust, click on the box with
the number and select the input number you want.
Reset
Resets values to the original defaults.
Revert
Resets values to the last settings you saved.
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Color Picon
The square to the right of the Reset button is the
Color Picon. You can drag-and-drop this picon into a
bin to save color correction settings. This makes it
easy to apply the same settings to multiple inputs. To
load the saved settings into an input, drag the picon
onto an input module number (1-8) on one of the
busses in Switcher. Or, you can open up the Color
Correction panel for the desired input, drag the picon
from the bin, and drop it on the Color Picon window.
Hue
Changes the color values of the video input. If images
have an unwanted color, or hue, adjust the Hue value
to compensate for it.
Sat
(Saturation)
Increases or decreases the amount of color, or
saturation, in the picture. If the colors seem too vivid,
lower the Saturation value. If the colors are washed
out, increase the Saturation value.
Luma
Controls the contrast of the picture. To make the
picture look crisper, increase the Luma value. In the
broadcast industry, this is often referred to as gain.
Setup
Controls the brightness of the picture. In the
broadcast industry, this is also called pedestal.
White Hue,
White Mag
White Hue and White Mag (Magnitude) adjust the
color of the whitest parts of the signal. You may run
across a piece of video that has whites that don’t look
white. If you see something on a tape that should be
white but has a red or green tinge, the camera was not
properly white balanced when the video was shot.
White Hue defines the color added to the white parts
of the signal, adjustable by using the colored slider,
and White Mag determines how much color is added.
To remove a color from the white parts of the image,
set White Hue to the opposite color, and adjust White
Mag to the appropriate level to cancel out the
offending color.
Black Hue,
Black Mag
If the black areas of the video have an unwanted tint,
the Black Hue and Black Mag (Magnitude) settings
can correct this. They operate the same way as White
Hue and White Mag. Black Hue defines the color
added to the black parts of the image, adjustable by
using the colored slider. Black Mag sets the level of
the color added. If the black areas of the video have a
green tinge, try adding a little red.
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Sometimes adjusting these values can result in a color signal that is too hot or too
low for the average transmitter to transmit, or the average television to display
properly. When this happens, we refer to the video signal as being illegal. To
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prevent this from happening, the bottom of the panel contains three buttons that
limit the video signal. Each one, when turned on, acts as a video police officer and
makes sure values are within CCIR-601 specifications.
Limit High
Luma
Limits the upper end of the luma value to prevent
the whites from being illegal values.
Limit Low
Luma
Limits the lower end of the luma value to prevent
the blacks from being illegal values.
Limit Chroma
Limits the color signals, keeping them within legal
values.
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Working With Timelines
The GlobeCaster Editor timeline is where you put together all the pieces of your
project. When building timelines, you choose settings that affect how clips on the
timeline behave by using the Timeline Controls buttons, the Timeline Properties
panel, the Editor Options panel, and pop-up menus that appear when you rightclick on various parts of the timeline. You can use the GlobeCaster Editor’s clip
priority rules to quickly perform some types of edits. You can also append a
timeline to one that is already loaded.
This section of the chapter covers the following topics:
•
Parts of the timeline
•
Selecting clips on the timeline
•
Using clip priority
•
Appending a timeline
•
Functions of buttons, panels, and pop-up menus
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Parts Of The
Timeline
Figure 3.37 shows the parts of the timeline.
Position
Bar
Tree
Duration
Timecode
Validation
Bar
Track
Ending
Timecode
Scroom Bar
Events
Vertical
Scroll Bar
Figure 3.37: The GlobeCaster Editor Timeline
Following is an explanation of how the parts of the timeline work:
Timecode
When you start a new timeline, you see two
timecode numbers at the top of the timeline, one at
each end. These represent the points on the master
tape where the GlobeCaster Editor will lay down
the timeline. To set the timecode for the beginning
of the timeline, click on the Options button on the
right side of the screen to open the Editor Options
panel. Next to Timeline Starts At, type in the
timecode you want. Or, click Mark, and the current
timecode on your record tape is imported. As the
Position Bar moves through the timeline, the
timecode for its location is displayed. Timecode is
also displayed when you click on an event to move
it on the timeline. Beginning and ending timecode
are both displayed for the event, unless the event is
of such a short duration that there is not room for
both to be displayed. In that case, only the
beginning timecode is displayed.
Validation Bar
The red bar at the top of the timeline. Parts of the
bar turn green as edits have been recorded to the
master tape. If you add elements to the timeline
after recording to the master, the bar above these
elements is red. The next time you click on
Assemble, the GlobeCaster Editor adds the changed
sections of the timeline to the master (see
“Assemble” on page 55 for information on how to
use the Assemble function).
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Tree
Expands or shrinks the display of tracks on the
timeline. Clicking on a plus sign displays that
track’s child track(s), and clicking on a minus sign
hides that track and its child tracks.
Position Bar
The vertical black bar on the timeline depicts the
position on the timeline of the output you are
seeing. You can scrub through the timeline by
dragging the position bar through it, or you can
skip to a part of the timeline by dragging the
position bar there. The timecode of the position
bar’s location is displayed above it. You can quickly
place this bar anywhere on the timeline by clicking
in the spot where you would like it to appear. While
scrubbing through a clip, you can stop the playback
and freeze the position of the Position Bar by
pressing the space bar on your keyboard. (When
Timeline is the active source, the space bar toggles
between Play and Stop.) You can fine tune the
location of the Position Bar by using the left and
right arrow keys on your keyboard. This is handy
for marking the spot where you want to trim or split
a clip, start or end a transition, start or end an audio
track, etc.
Tracks
A track on the timeline represents a chronological
sequence of events. Multiple tracks make it possible
to switch between images and effects. A timeline
can have up to 13 tracks:
Events
•
Three video tracks: Video 1, Video 2, Video 3
•
Transition/warp effect track: FX
•
Up to four downstream key tracks: DSK, DSK2,
DSK3, DSK4. Each video track also has child
Audio tracks, which in turn have child Levels
tracks. Split audio edits can be performed in the
Audio tracks, and audio levels are controlled in
the Levels tracks. (You must first animate audio
levels before changing them in the Levels
tracks. For information on how to do this, see
“Animating Audio On The Timeline” on
page 155.)
•
Up to four GPI tracks: GPI 1, GPI 2, GPI 3,
GPI 4 for activating GPI triggers.
•
Pause track, for pausing the timeline.
Video clips, audio clips, and effects that are placed
on the timeline.
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Selecting Clips
On The
Timeline
Scroom Bar
Scrolls and zooms the timeline. To scroll the
timeline left or right, click on the Scroom bar and
drag left or right. To zoom the timeline in and out,
click on the Scroom bar and drag up or down. To do
both at once, click on the Scroom bar and drag
diagonally. You can also zoom by right-clicking on
the timeline and selecting a zoom setting from the
pop-up menu.
Vertical
Scroll Bar
Scrolls the timeline up and down. Click on the bar
and drag it up or down.
Duration
Timecode
Displays the length of the selected event.
Before performing a number of operations, such as digitizing clips, changing clip
properties, or using the Preview or Perform functions, you need to select the clips
on the timeline that you want to affect with that action.
You can select multiple events by holding down the Control key on your keyboard
and clicking on the events, or you can right-click on an event in the timeline and
choose one of the selection options, such as Select All, Select Track, Select From
Here, etc. (see “Timeline Event Pop-Up Menu” on page 99 for all of the selection
options).
Using Clip
Priority
Priority of clips on the timeline is a powerful way to control which source appears.
The general rule for priority of the video tracks is the top track gets priority. In
other words, if there is more than one clip at a point in the timeline, the clip in the
highest track is played.
Here are the specific priority rules:
•
If there is no clip, the GlobeCaster Editor plays black.
•
If there is one clip, the GlobeCaster Editor plays that clip.
•
If there are two or more clips that overlap, plays the one on the highest track.
As the timeline plays through, if the clip on top runs out, the GlobeCaster Editor
“drops down” to the clip on the next highest track. This is in effect a cut edit. If a
clip begins again on a higher track, GlobeCaster “jumps up” to that clip, also
creating a cut.
If the clip on the higher track is shorter than the clip on the lower track
(overlapped on both sides), then the GlobeCaster Editor begins with the lower
clip, and the higher, shorter clip is seen as an insert or cut-away. This is a quick
way to perform an L-cut (also called a split audio edit), where the audio for the
bottom clip continues as the video cuts to the upper clip and then back.
Occasionally it’s inconvenient to move a clip from track to track just to change its
priority, so the GlobeCaster Editor provides a handy way to break the priority rule.
To do this, right-click on a clip and choose Higher Priority from the pop-up
menu. This tells the GlobeCaster Editor to play the entire clip from start to finish,
even if there are clips on the higher priority tracks. If two clips overlap and both
have Higher Priority turned on, then the old rule applies: the clip on the higher
track plays throughout.
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Where two clips overlap, you can cut back and forth between them by adding
“fake dissolves.” If you have overlapping clips on the Video 1 and Video 2 tracks,
for example, you can create dissolves and set them to go from the Video 2 track to
the same Video 2 track. Because the dissolve is from and to the same video source,
it simply plays that source. This way, the GlobeCaster Editor plays the video on the
Video 1 track until it comes to the dissolve. Then it plays the clip on the Video 2
track for the length of the dissolve, after which it goes back to the clip on the
Video 1 track.
To use dissolves to cut between overlapping video sources, do the following:
1.
Right-click on the overlapping area of one of the clips and choose Create
Dissolve from the pop-up menu.
A dissolve appears in the FX track (Figure 3.38).
Dissolve
Figure 3.38: Timeline with Dissolve in the FX Track
2.
Adjust the dissolve to the duration you want the clip on the Video 2 track to
play.
3.
Repeat this until you have all your dissolves in place (Figure 3.39).
Figure 3.39: Timeline with Dissolves
4.
Right-click on the first dissolve and choose Effect Properties from the pop-up
menu.
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The Effect Properties panel appears in the upper left of your screen
(Figure 3.40).
Figure 3.40: The Effect Properties Panel
5.
Click on the video track button (it says Video 1) next to From at the top of the
panel (Figure 3.41).
Figure 3.41: The Video Track Button
A pop-up menu appears. Use this menu to select which track the dissolve
starts from.
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6.
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Choose Video 2 from the pop-up menu.
Figure 3.42: Choosing the Video 2 Track
7.
Click on the Video Track button next to To and choose Video 2 from the popup menu.
The dissolve on the timeline has the numbers 2>2 on it, indicating the dissolve
goes from the Video 2 track to the Video 2 track.
8.
With the Effect Properties panel still open, click on the next dissolve on the
timeline to select it.
9.
Set From and To to the Video 2 track.
Your timeline now has two overlapping clips with a series of dissolves set from
the Video 2 track to the Video 2 track (Figure 3.43).
Figure 3.43: 2>2 Dissolves on the Timeline
That’s it, you have set up the dissolves so they will act as cuts between the two
clips. The GlobeCaster Editor will play the clip in the Video 1 track, except where
the dissolves are, where it will play the clip in the Video 2 track.
Appending A
Timeline
TIP: To speed the
time it takes to navigate around the timeline, you can cut a
large project into
smaller sections, then
paste all the timelines
together when you’re
ready to record the
project.
If you have a timeline loaded in the GlobeCaster Editor, you can append another
timeline to it. This feature is convenient if you are creating a lengthy project.
To append a timeline, do the following:
1.
Load the first timeline by double-clicking on its picon or dragging the picon to
the timeline.
2.
Click in a blank area of the bin to deselect the picon for the first timeline.
3.
Click on the picon for the second timeline so that it is selected (yellow).
4.
Holding down the Control key on your keyboard, drag the picon for the
second timeline to the timeline area on the interface. When the Position Bar is
where you want the second timeline to begin, release the mouse button.
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Watch for the appended timeline to appear before releasing the Control
button.
TIP: Be sure to
release the mouse button, wait for the
appended timeline to
appear, then release
the Control button.
Figure 3.44: Dragging the Second Timeline Picon to the Timeline
The second timeline appears, beginning where the Position Bar was located
when you released the mouse button.
Figure 3.45: The Second Timeline is Appended after the Position Bar
The timeline begins at the point where the Position Bar was when you released the
mouse button. You can place the Position Bar in the midst of the first timeline. If
you do this, the second timeline will overwrite the remainder of the first timeline.
Timeline
Controls
You can use the Timeline Controls to save a timeline, select one of six edit modes,
open additional monitors, or set special properties for the timeline. These controls
are the blue buttons (yellow when they are turned on) on the left side of the
toolbar.
Timeline
Picon
Figure 3.46: The Timeline Controls
Here’s what these buttons do:
Timeline
Opens the Timeline Properties panel, where you
can record information about your timelines. See
“Timeline Properties Panel” on page 92 for
information on how to use this panel.
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Timeline Picon
This picon represents the entire timeline. The picon
can be dragged and dropped into a bin to save your
project. When Editor is busy loading events on the
timeline, you see a horizontal status bar go up and
down on this picon. Right-clicking on the picon
brings up the Timeline Picon Pop-Up Menu, where
you can rename the timeline, create picons for it, or
open the Timeline Properties Panel. See the
following section for information on how to use the
Timeline Picon Pop-Up Menu.
Save
Saves the timeline in the Bins\Clips\Projects
directory, or whatever default path you set in the
Global Settings panel. For information on how to
use the Global Settings panel, see the “Using
Configure Panels” chapter of the GlobeCaster User
Guide.
Trim Clip
An editing mode for trimming single clips that
displays the first frame of the selected clip in the left
monitor, and the last frame of the clip in the right
monitor. The controls trim or add time to the
beginning or end of the clip. See “Trim Clip Mode”
on page 127 for information on this editing mode.
Trim Edit
An editing mode for adjusting edits between two
clips. This is useful for precision editing down to
individual frames. You can trim time off or add to
the clips. See “Trim Edit Mode” on page 129 for
information on this editing mode.
Slip Src
(Source)
An editing mode used to adjust the in and out
points of a clip without changing its duration or
position on the timeline. It “slips” the video forward
or backward, in effect trimming one end and
extending the other simultaneously. This is useful,
for example, if you finish building a timeline but
decide you wish one clip started a few frames
earlier. See “Slip Source Mode” on page 131 for
information on this editing mode.
Slide
An editing mode that locks the selected clips into a
single series. You can then adjust the in and out
points of the entire series. This mode is similar to
Slip Source, except the overall length of the series
changes as you adjust the in and out points of the
series. See “Slide Mode” on page 132 for
information on this editing mode.
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Timeline Picon
Pop-Up Menu
New
Clears the timeline and starts a new one. If you have
unsaved changes in the currently loaded timeline,
the GlobeCaster Editor asks whether you want to
save them before opening a new one.
2, 3, 4
Selects two-, three-, or four-monitor display.
Add Clip
The default editing mode. Used when logging clips
or adding clips to a timeline project. The right
monitor displays the timeline or record deck, and
the left monitor displays the selected input source.
Trans
(Transition)
Edit
An editing mode used to adjust the beginning and
ending of transitions. Adjustable transitions, such
as wipes and dissolves, automatically adjust in
length to match the overlap of the two clips. When
the GlobeCaster Editor is in Trans Edit mode, it
automatically goes to a four-monitor display. See
“Transition Edit Mode” on page 133 for information
on this editing mode.
View
A single-monitor mode. This larger monitor is
useful for viewing the final output. To exit this
mode, click on the edit mode you wish to return to
(Add Clip is the default).
Ripple
When this is on, the GlobeCaster Editor
automatically shifts the elements of a timeline to
compensate for any changes you make. If you insert
a clip, for example, clips farther down the timeline
shift over to make room for the new clip.
The Timeline Picon pop-up menu allows you to manage picons for your timelines,
open the Timeline Properties panel (see “Timeline Properties Panel” on page 92),
or save the timeline information as a text edit decision list (EDL).
To access it, right-click on the timeline picon in the Timeline Controls.
Timeline
Picon
Figure 3.47: Right-Clicking on the Timeline Picon
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The Timeline Picon pop-up menu appears (Figure 3.48).
Figure 3.48: The Timeline Picon Pop-Up Menu
The pop-up menu has the following options:
Properties
Brings up the Timeline Properties panel, where you
can record information about your timelines (see
following section).
Rename
Allows you to assign a new name for the timeline.
To do so, select Rename from the pop-up menu.
Then type in the name for the timeline. It is
displayed on the timeline picon on the toolbar
(Figure 3.49). Changing the name on the timeline
picon does not change the name of the timeline
already saved in the bin, but if you drag the timeline
picon from the toolbar to the bin, a new copy
appears in the bin with the new name.
Timeline
Picon
Timeline
Name
Figure 3.49: Naming a Timeline
As with any file, you can also rename timelines by
right-clicking on the picon in the bin and selecting
Rename from the pop-up menu, but be careful not
to delete the file name extension (.ptl).
Set Picon
Creates a new picon for the timeline, using whatever
image is on your Program monitor screen.
Reset Timeline
Picon
Resets the timeline picon back to the default for
timelines that have had a picon set on them.
New Project
Clears the current timeline and allows you to start a
new project.
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Timeline
Properties
Panel
Make all
picons
If you build a timeline in the GlobeCaster Switcher,
this creates picons for all the clips.
Save Text EDL
(Edit Decision
List)
Changes the format in which the timeline is saved.
When this is selected, dragging the picon into a bin
saves a CMX 3600 text EDL. Any CMX editor can
then use this edit decision list.
Play in Loop
Plays the timeline in a loop, returning to the
beginning and playing it through again each time it
reaches the end.
The Timeline Properties panel provides a place to record information about your
timelines. Access it by clicking on the Timeline button or right-clicking on the
Timeline Picon and choosing Properties.
Display
Window
Figure 3.50: The Timeline Properties Panel
Here’s how to use the panel:
Display
Window
Displays the names of properties you created. To
view information about a property, click on it in this
window to select it. A check mark appears next to it,
and the information is displayed in the Value
window.
Name
Type in the name of properties you would like to
record information about, such as name of the
project, date, number of source tapes, etc. Then
press Enter on the keyboard.
Value
Type in the information for the properties you
created, then press Enter on the keyboard.
Delete
Deletes the selected property.
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Editor Options
Panel
93
In the Editor Options panel, you can choose settings related to editing on the
GlobeCaster Editor timeline. The settings affect the way clips on the timeline
behave, how the GlobeCaster Editor assembles clips, and how your decks behave.
To access the panel, click on the gray Options button on the right side of the
toolbar. The Editor Options panel appears in the upper left corner of the screen.
Figure 3.51: The Editor Options Panel
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Here’s how to use the Editor Options panel:
Drag Clips:
Move/Roll
Click on Move or Roll to determine how clips
behave when you drag them.
The default mode, Move, allows you to move a
clip by dragging it in the timeline. Click on the
clip anywhere, except on the trim handles, and
drag it where you want.
Roll allows you to move the “window” of the clip
on the source tape. This changes the in and out
points of the clip, without moving the clip on the
timeline or changing its length. This accomplishes
the same function as the Slip Src (Slip Source)
editing mode (see “Slip Src (Source)” on page 89
for information on this mode), but by dragging the
mouse instead of using the interface transport
controls. This Roll button is automatically turned
on when you open Slip Source mode.
To use the Roll function, do the following:
Click on the Roll button.
Your mouse pointer turns into the roll cursor, a
circular yellow arrow over the selected clip.
Drag the roll cursor to the left to make the clip
begin and end earlier on the source tape, and to
the right to make the clip begin and end later on
the source tape.
As you drag the roll cursor, you see the In Point
and Out Point timecode under the left monitor
change. The clip does not move on the timeline.
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Edits:
Lock
Trans(ition)/
Trim Clip/
Slide Edit
Click on either Lock Trans, Trim Clip, or Slide
Edit to determine how clips behave when you
move the edit points between two clips.
Lock Trans locks the in or out points of a
transition with the in or out points of the clips
when you drag the clips on the timeline. So, if you
make the overlap area of the clips shorter, the
transition is also shorter. This contrasts to Slide
Edit option, in which the length of the transition
remains the same although its starting or ending
point is changed. The Lock Trans button is
automatically turned on in Transition Edit mode.
See “Transition Edit Mode” on page 133 for
information about this editing mode.
Trim Clip is the default setting. When in Trim
Clip mode, clips are trimmed when you move the
edit point. This can also be done using the
transport controls when in Trim Clip editing
mode. See “Trim Clip Mode” on page 127 for
information on this editing mode.
When in Slide Edit mode and you move the edit
point between two clips, length is added to or
subtracted from the clips to keep the transition the
same length. This mode moves neighboring effects
at the same time to keep the effects lined up with
the clip. The Slide Edit function performs the
same function as the Trim Edit editing mode (see
“Trim Edit Mode” on page 129 for information on
this editing mode), but by dragging the mouse
instead of using the interface transport controls.
Follow Rec
(Recorder)
When this button is on and the recorder deck is
played, the Position Bar on the timeline follows
the timecode on the recorder deck.
Tape Scrub
Turns on the ability to scrub through linear tape
sources in the timeline. Tape Scrub mode gives
linear editing in the GlobeCaster Editor the feel of
a non-linear system. It does, however, put a little
more wear on the tapes, so we left it as an option.
With this option on, scrub through your tapes
either by moving the Position Bar or by using the
Main Controls.
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Auto Beats
Auto Beats is an easy way to match edits to beats
on a music track. Play the record deck and click on
Mark In each time you want to create a new clip.
The GlobeCaster Editor inserts alternating black
and white placeholders into the timeline. You can
use the shuttle control (or Play Speed in the Clip
Main Properties panel) to play the tape slowly to
capture the beat points precisely on the timeline.
After marking the beats, rewind the tape and play
it back while the GlobeCaster Editor cuts between
black and white on the beats. This makes it easy to
see whether you’ve missed any beats. When the
timing is perfect, drop your source clips or stills
from the bin onto each black or white clip. The
GlobeCaster Editor automatically trims the source
clip out points.
Auto Scrub
Length
Allows you to control how audio scrubbing
responds. You can set the length of audio (frames)
to play for each position bar movement, and select
how you wish to play the audio. You can choose
either Play up to pos bar, Play centered around
pos bar, or Play from pos bar (Figure 3.52).
Figure 3.52: The Audio Scrub Playback Pop-Up Menu
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Load Files
To Source
Sets whether Single Click or Double Click loads
framestores, matte color, or digitized clips into a
monitor. Click on this button, and choose Single
Click or Double Click from the pop-up menu.
In the default mode, Single Click, clicking once on
a file’s picon in a bin loads that picon into a
monitor. Double-click on the picon to load the file
onto the timeline.
Sometimes you may not want files to load into the
monitor when you single-click on them. In this
case, select Double Click, and the file won’t load
unless it is double-clicked. Drag the picon to load
it onto the timeline.
You can also drag picons to load them into the
monitor. When you load a file, the Source button
changes to the appropriate source type (Clip,
Frame, Matte, or Black). See “Source Type
Button” on page 65 for information on this button.
TIP: If the monitor is grayed out, it means a
complete source has not been designated, and you
cannot drag-and-drop files into it (although you
can still click on files to load them into such a
monitor). Examples of incomplete sources are
Source A, Source B, or Source C if no deck has
been assigned to them, or if the deck has no tape
or the tape has not been named, or Clip if no
digitized clip is selected on the timeline.
Preview Mode
Sets how an edit is previewed. Clicking on this
button brings up a pop-up menu with the
following options: VVV, VBV, BVB.
VVV (video video video) shows the video already
on the record tape before the edit in point, the
edit, and the video after the edit out point.
BVB (black video black) blacks out the video
already on the record tape before and after the edit,
showing only the edit.
VBV (video black video) shows the video on the
tape before and after the edit, but blacks out the
edit.
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Auto-Assemble
Method
Sets the method GlobeCaster uses to assemble
clips on a timeline. Clicking on this button brings
up a pop-up menu with the following options:
Sequential or Checkerboard.
Sequential runs the clips in order on the timeline.
This allows you to see the timeline assembled in
order.
Checkerboard mode analyzes the timeline and
lays down every clip from each source tape in one
pass by skipping down the timeline and
performing edits out of sequence. This saves time
and tape swapping because each tape source needs
to be inserted only once. GlobeCaster even checks
whether needed source tapes are already in the
decks at the beginning of the Auto-Assemble and
lays down the clips from those tapes first.
Timeline starts,
Mark
Allows you to match the timeline start time to a
specified timecode start time on your master tape.
When you click the Mark button, the GlobeCaster
Editor reads the current time on the selected
record deck, and starts the timeline at that point.
Or, you can type in the timecode of the starting
point you desire and press Enter on your
keyboard.
Reset timeline
for assembly
Resets the Validation Bar at the top of the timeline
so that all the elements of the timeline are
recorded to the master tape then next time you
click Assemble. The Validation Bar is a line across
the top of the timeline that indicates which
sections have been laid down to the master. Green
sections have been recorded, red have not. If you
don’t click this button, only new elements are
added to the master when you click Assemble.
This option is handy if for some reason you want
to re-record a clip that has already been laid down
to the master.
Remove
Unused Tapes
Removes the name of tapes not required for the
current timeline from the Tape Name button popup menu (for information on using this button,
see “Tape Name” on page 47).
Load Timeline
On Scrub
Loads the timeline when the timeline is scrubbed.
Unload TL
Unloads the data in the current timeline.
Load Timeline
From PosBar
Loads the timeline starting at the current location
of the position bar.
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Timeline Event
Pop-Up Menu
Reaction
Frames
Compensates for user reaction time when using
the Mark In or Mark Out buttons. If you type 5
here, for example, the GlobeCaster Editor marks
the in and out points 5 frames earlier than where
you hit the mark buttons.
Postroll
Sets the amount of time the deck rolls after an edit.
Max Safe
Preroll
Sets the maximum time before an event that the
GlobeCaster Editor prerolls. Default is 30 seconds.
Adjusting this setting could be handy if you need
frames right at the beginning of a tape. If you
decrease this number or set it to 0, the
GlobeCaster Editor won’t try to back up past the
beginning of the tape.
Abort edits if off
by more than
Sets the degree of accuracy the GlobeCaster Editor
requires. The GlobeCaster Editor is a frameaccurate editor, but allows you the flexibility of
using decks that are less than frame accurate. This
setting is the number of frames within which the
GlobeCaster Editor requires all edits to be
accurate. All VTRs occasionally miss an edit by not
syncing up during the preroll. If the edit is off by
more than the number of frames specified, the
GlobeCaster Editor stops before the edit begins
and tries it again.
Aborted Edit
Retries
Sets the number of times the GlobeCaster Editor
tries to perform an edit.
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The Timeline Event pop-up menu appears when you right-click on an area of the
timeline. It is context sensitive, so the options you see depend on what is on the
timeline and whether you right-click on a clip, effect, or blank area of the timeline.
In general, the features on the pop-up menu allow you to delete or select events,
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make choices about how the timeline is displayed, set properties for clips, animate
audio levels, digitize clips, or perform specialized functions.
Figure 3.53: Timeline Event Pop-Up Menu
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For clarity in this manual, each menu will be shown on the timeline and then
explained in the following sections.
Video Event
Menu
Audio
Event
Menu
Keyframe
Menu
Track Menu
Audio Level Track Menu
Figure 3.54: Possible Pop-Up Menus on the Timeline
Keyframe Menu
To access the Keyframe menu, right-click on a keyframe control knob
(Figure 3.55).
Keyframe
Control
Knob
Figure 3.55: Keyframe Control Knob
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The Keyframe pop-up menu appears. It has settings that allow you to manipulate
the volume of your audio tracks.
Figure 3.56: The Keyframe Pop-Up Menu
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Audio Event
Menu
103
To access the Audio Event menu, right-click on an audio event in an Audio track,
the following menu is displayed.
.
Figure 3.57: Audio Event Menu
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Audio Level
Track Menu
The Audio Level Track menu (Figure 3.58) is displayed when you right-click on
the Audio Level Track.
Figure 3.58: The Audio Level Track Pop-Up Menu
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Video Event
Menu
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The Video Event menu (Figure 3.59) is displayed when right-click on an event in
the Video track.
Figure 3.59: The Video Event Pop-Up Menu
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Track Menu
The Track Menu (Figure 3.60) is displayed when you right-click on a track a track
that has children. The items: Expand Tree, Expand All, and Collapse Tree will
only be available on tracks that have children.
Figure 3.60: The Track Pop-Up Menu
Timeline Menu
Items
Following is an explanation of the options that may appear on the Timeline popup menus, listed in alphabetical order.
Add Dip
Adds several keyframes to make the audio drop out
momentarily. The dip can be modified by moving
the keyframes.
Figure 3.61: A Dip Added to an Audio Level Track
Add Fade In
Adds a keyframe to form a fade in.
Figure 3.62: A Fade In Added to an Audio Level Track
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Add Fade Out
Adds a keyframe to form a fade out.
Figure 3.63: A Fade Out Added to an Audio Level Track
Add Keyframe
Adds a keyframe to the audio track of the timeline.
This keyframe allows you to adjust the level up or
down. Transitions between keyframes are
represented by lines in the audio track.
Add Pause
Point
Creates a pause point event on the Pause track.
Figure 3.64: Added Pause Point
When playing the timeline back, the timeline will
automatically pause at the points without you
having to hit the Pause button. You can then wait
before hitting the Play button to continue playing
the timeline.
If you have a looping effect that you want to play
while the timeline is paused, select Loop While
Paused on the Effect Properties panel. For more
information, see “Loop While Paused” on
page 119.
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Add to Batch
Digitize
Available when you right-click on an event. Adds
selected events to a list to be digitized later. First,
select the event or events you want to digitize. Do
this by clicking on the event, or by holding down
the Control key on your keyboard and clicking on
multiple event. Or, right-click on an event and
choose one of the select options, such as Select All
or Select From Here, from the pop-up menu. Once
you have selected the events, right-click on one of
them and choose Add to Batch Digitize from the
pop-up menu. When you’re ready to batch digitize
the events, click on the Batch button in the Clip
Controls to open the Batch Digitize window. (For
information on how to use the Batch Digitize
window, see “Digitizing With Time Machine” on
page 138.)
Adjust color
Available when you right-click on matte color clip
on the timeline. Choosing this option opens the
Matte Color panel, where you can change the color
of the clip. For information on how to use this
panel, see “Effect Border Color And Matte Color
Panels” on page 121.
Animate Level
Available if you right-click on a gray area of a Level
track between the start and end of an audio clip, or
if you right-click on the audio clip on the Audio
track.
Turns animation on so you can adjust the volume
level of the audio tracks, creating fade ins, fade
outs, peaks, and dips. You see the Animate Level
option when you right-click in a gray area of an
Audio Level track between the in and out points for
the audio. (You can also turn on Animate Level by
clicking on the Animate button in the Clip Audio
Properties panel. See “Clip Audio Properties” on
page 164 for information on how to do this.)
Once you have selected Animate Level, you can
adjust the volume levels on the timeline. Rightclick on a gray area of the timeline again. Now you
see the following options at the bottom of the popup menu: Add Keyframe, Add Dip, Add Fade In,
and Add Fade Out.
For information on how to animate audio, see
“Animating Audio On The Timeline” on page 155.
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Collapse Tree
Available if you right-click in a Video or Audio
track. Hides child tracks of the selected track.
Audio 1-4 are child tracks of the Video tracks, and
one Level track is a child track of each Audio track.
Choosing Collapse Tree is the same as clicking on
the - sign next to the name of the parent tracks.
Create CrossFade
You see this option when two clips overlap. It
creates fade ins and fade outs on both audio tracks
of both clips. The GlobeCaster Editor fades out the
audio on the first clip on the timeline, and fades in
the second clip.
Figure 3.65: A Cross-Fade Added to an
Audio Level Track
Create Dissolve
Available if you right-click on a clip in an area
where it overlaps with another clip. Creates a
dissolve transition where two clips overlap.
Cubic
Makes the transition from one keyframe to the next
a curved line.
Figure 3.66: Keyframes Set to Cubic
This “rounds out” the transitions between
keyframes by varying the rate at which the audio
level changes.
Delete Event
Available if you right-click on an event. Removes
the event that you right-clicked on from the
timeline.
Delete Key
Deletes the selected keyframe.
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Delete Selected
Events
Available if you right-click on an event. Removes
selected events from the timeline. Select multiple
events by holding down the Control key and
clicking on the events.
Digitize to
Time Machine
Available if you have Time Machine installed and
you right-click on an event. Digitizes selected clips.
Digitized clips are saved onto your Time Machine
hard drives. Digitized clips are indicated on the
timeline by a dark blue color. To save a picon of the
clip as a shortcut, click on the clip on the timeline
to select it, then drag the Current Clip picon into a
bin.
Double track
height
Available if you right-click in an open Level track.
Displays the selected Level track at twice its current
height. This is useful for precisely editing audio
level keyframe positions.
Edit Key
Opens the Edit Key panel, where you can precisely
adjust the level of the selected keyframe (see the
previous section for information on how to use this
panel).
Effect
Properties
Available if you right-clicked on a transition, such
as a dissolve. Brings up the Effect Properties panel,
where you can set properties that allow you to
tailor effects to your needs. See “Effect Properties
Panel” on page 118 for information on how to use
this panel.
Expand All
Available if you right-click on a Video or Audio
track. Displays all child tracks belonging to the
selected track.
Expand Tree
Available if you right-click on a Video or Audio
track. Displays child tracks of the selected track.
Audio 1-4 are child tracks of the Video tracks, and
one Level track is a child track of each Audio track.
Choosing this pop-up menu option is the same as
clicking on the + sign next to the name of the
parent track.
Fit All
Available if you right-click in a gray area of the
timeline (not on an event). Sizes the timeline so
that the entire timeline fits into the window.
Fit Selected
Available if you right-click in a gray area of the
timeline (not on an event). Sizes the timeline so
that all selected items fit into the window.
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Flatten Event
Flattens all events in the event’s range into a Time
Machine Clip. Available if you right-click on an
event.
Flatten Selected
Performs a flatten event on each selected event.
Available if you right-click in an open track.
Flatten
Timeline
Flattens all the events on the timeline into a Time
Machine clip. Available if you right-click in an
open track.
Halve track
height
Available if you right-click in an open Level track.
Displays the selected Level track at half its current
height.
Higher Priority
Available if you right-click on an event. If two or
more clips or effects are in the same area on a
timeline, GlobeCaster applies a top-down
prioritization. In other words, it plays back the clip
on the highest track in the timeline. Occasionally,
however, it’s inconvenient to move a clip from track
to track just to change its priority, so the
GlobeCaster Editor provides a handy way to break
the priority rule. Right-click on a clip and choose
Higher Priority. This tells the GlobeCaster Editor
to play the entire clip even if there are overlapping
clips on the higher priority tracks. If two
overlapping clips both have Higher Priority turned
on, then the old rule applies: the clip on the higher
track plays.
Hold
Maintains the value of the previous keyframe until
the next keyframe.
Figure 3.67: Keyframes Set to Hold
This means the audio level jumps from the setting
of one keyframe to the setting of the next.
Invert Selection
Available if you right-click on an event. Selects the
items on the entire timeline that previously were
not selected, and deselects those that were.
Invert Track
Available if you right-click on an event. Selects the
items on a single track that previously were not
selected, and deselects those that were.
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Linear
The default mode, this makes the transition from
one keyframe to the next a straight line.
Figure 3.68: Keyframes Set to Linear
This means the audio level changes at a constant
rate from one keyframe to the next.
Make A/V Edit
Available if you create a dissolve between two
linear clips from the same source tape, then rightclick on one of the clips in the area where they
overlap. Creates an A/V roll edit, a type of edit
unique to GlobeCaster. Instead of using a single
frame to perform a transition between two clips on
the same source tape, the A/V roll edit converts a
portion of one of the clips to a ClipMem. A
ClipMem is a bit of digitized video recorded to the
RAM on the Warp Engine. In essence, you are
transitioning between two sources, and the
resulting edit is indistinguishable from a standard
A/B roll edit.
To create an A/V roll edit, right-click on one of the
clips where they overlap and select Make A/V Edit
from the pop-up menu. (The clip you right-click
on is the one the GlobeCaster Editor makes the
ClipMem of.)The GlobeCaster Editor creates a
ClipMem for the length of the transition. If the
transition is longer than the maximum length for a
ClipMem in your system, the GlobeCaster Editor
creates as many ClipMems as are needed to cover
the transition. The ClipMems are saved in
Bins\Clips. The next time you click on Assemble,
the GlobeCaster Editor loads the ClipMem file into
the Warp Engine, and records the transition in one
pass and the other video clip in the next pass. If the
edit uses multiple ClipMems, the GlobeCaster
Editor makes multiple passes. The GlobeCaster
Editor matches frames to make the finished edit
look seamless (you must have decks capable of
match-frame editing for this to work).
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Keep in mind that the Warp Engine is being used as
a video recording and playback device, so you
cannot use warp effects at the same time. Wipe and
dissolve effects (with or without graphics) work
great with a ClipMem, but not warping digital
video effects. For these type of effects, use the A/X
roll edit described below. See “Creating A/V And A/
X Edits” on page 206 for more detailed instructions
on creating an A/V edit.
Make A/X Edit
Available if you create a dissolve between two
linear clips, then right-click on one of the clips in
the area where they overlap. Creates an A/X roll
edit, which is a transition between two clips on the
same tape. GlobeCaster does this by using a single
frame for one of the clips during the transition.
To create an A/X roll edit, right-click on the clip
you want to “freeze” during the effect, and select
Make A/X Edit from the pop-up menu. The
GlobeCaster Editor automatically selects the
correct frame of the transitional effect, and splits
the clip into a video clip leading up to the
transition and a framestore lasting the precise
length of the transition. When you next click
Assemble, the GlobeCaster Editor lays the first clip
onto the master, and then cues up the framestore
and the second clip for the second pass. Matchframing is done automatically, so the edit looks
seamless (you must have decks capable of matchframe editing for this to work). The framestores are
saved in GlobeCaster\Bins\stills\AX_stills, if you
ever want to use them again.
See “Creating A/V And A/X Edits” on page 206 for
more detailed instructions on creating an A/X edit.
Properties
Available when you right-click in a gray area of an
Audio Level track between the in and out points for
the audio; when you right-click on the audio clip
on the Audio track; or when you right-click on the
clip in the Video track.
Brings up the Clip Main Properties panel, where
you can set the basic properties of a clip, such as
play speed, which audio and video channels are
recorded, and color correction. You can also access
the Clip Audio Properties panel, where you can set
the audio levels for a clip. See “Clip Main
Properties Panel” on page 75 and “Clip Audio
Properties” on page 164 for information on how to
use these panels.
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Record to
Harddrive
Available if you right-click on a linear clip. It
creates a ClipMem, a bit of digitized video recorded
to the RAM on the Warp Engine card and stored on
the PC hard drive. This is useful if you do not have
a Time Machine. It allows you to store a short clip
of uncompressed digitized video and then use it for
rotoscoping, animation, transitions between clips
on the same source tape, etc. The amount of video
storage you have depends on the amount of RAM
on your Warp Engine. With 128 MB of RAM (the
maximum) you can record just over 6 seconds of
video. The standard 16 MB of RAM records 20
frames, or 2/3 of a second. If the clip you want to
record to the hard drive is longer than the capacity
of the RAM, the GlobeCaster Editor creates
multiple ClipMems.
Redo
Available if you used the Undo function. Redoes
undone actions in reverse sequence.
Remove Gap
Available if you right-click in a gray area where
there are no events in any tracks on the timeline.
Removes dead time from a timeline, such as a space
that is left when you delete a clip. Selecting
Remove Gap moves clips on the right side of the
timeline to the left in order to close the gap.
Remove All
Gaps
Available if you right-click in a gray area where
there are no events in any tracks on the timeline.
Removes dead time from a timeline, such as a space
that is left when you delete a clip. Selecting
Remove All Gaps moves all of the clips on the
right side of the timeline to the left in order to close
all of the gaps.
Replace with
Dissolve
Available if you right-click on a transition. Replaces
the current effect with a dissolve.
Reset track
height
Available if you right-click on an open Level track.
Resets the selected track to its original height.
Select All
Available if you right-click on an event. Selects all
events on the timeline.
Select From
Here
Available if you right-click on an event. Selects the
event you right-clicked on and all following events
on the timeline.
Select From
Here on This
Track
Available if you right-click on an event. Selects the
event you right-clicked on and all following events
on that track of the timeline.
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Select None
Available if you right-click on an event. Deselects
all events on the timeline.
Select Track
Available if you right-click on an event. Selects all
events on a track of the timeline.
Show Filenames
Upon Selection
Allows for easy identification of project items when
needed.
Snap
Available if you right-click anywhere on the
timeline. Brings up the Snap Frames pop-up menu,
where you can turn the Snap feature on or off, or
choose the number of snap frames. (See “The Snap
Frames Pop-Up Menu” on page 117 for
information on how to use this pop-up menu.)
Split at PosBar
(Position Bar)
Available if the Position Bar is over a clip you rightclicked on. Splits the clip at the location of the
position bar. This is useful when trimming clips.
Scrub through the clip, stopping at the frame where
you would like the clip to end. The position bar is
located at this frame. Right-click on the clip and
choose Split at PosBar. Delete the new clip created
to the right of the Position Bar to get rid of the
extra footage. The clip you want, trimmed to the
exact ending frame you want, remains to the left of
the Position Bar.
TIP: You can also press Control + s on your
keyboard to split clips and stills at the Position Bar.
You can use this method to split clips and stills as
the timeline plays back.
Turn into
Framestore
Available if you right-click on a clip. Creates a
framestore (still) of the clip, using the first frame.
Undo
Available if you have just performed an action on
the timeline. Undoes actions in reverse sequence.
Ungroup Audio
and Video
Events
Available when you have a clip that has both video
and audio components. Right-click on this clip
and select Ungroup Audio and Video Events. This
will split the clip into its two components: the
video event and the audio events. In this state, the
events can be moved or trimmed independent of
one another. However, the audio events will
remain locked to each other.
Zoom 1/2
Available if you right-click in a gray area of the
timeline (not on an event). Displays the timeline at
half its current length, if the timeline is zoomed
out. If it is not zoomed out, this function does not
shrink the length of the timeline.
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Zoom All
Available if you right-click in a gray area of the
timeline. Enlarges the display of the entire timeline.
Zoom at
Position Bar,
Zoom at PosBar
Available if you right-click in a gray area of the
timeline (not on an event). Enlarges the display of
the area of the timeline where the position bar is.
Zoom x2
Available if you right-click in a gray area of the
timeline (not on an event). Displays the timeline at
twice its current length. You can select this
multiple times.
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The Snap
Frames Pop-Up
Menu
117
Similar to those in graphics programs, the snap function aids in lining up clips
precisely on the timeline. When Snap is turned on, the alignment bar turns yellow
when it is within the set number of frames. You can then release the event, and it
jumps into place. The Snap Frames pop-up menu is where you can set the margin
within which clips snap into place, and where you can turn this function on or off.
The Snap function works for audio events if the Levels tracks are open. If the
Levels tracks are not open, Snap functions for the Video tracks only.
Access the Snap Frames pop-up menu by right-clicking in a gray area of the
timeline to bring up the Timeline pop-up menu (see previous section), and
selecting Snap. The Snap Frames pop-up menu appears.
Figure 3.69: The Snap Frames Pop-Up Menu
To turn the snap function on or off, choose Snap Off. Or select the number of
frames you want as the snap margin.
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Chapter 3
Effect
Properties
Panel
With the Effects Properties panel, you can tailor effects to your needs by adjusting
attributes such as softness, duration, direction, etc. To access the panel, right-click
on an effect in the timeline, bringing up the Timeline pop-up menu. Choose Effect
Properties. The Effect Properties panel appears in the upper left corner of the
screen.
Effect
Picon
Figure 3.70: The Effect Properties Panel
Some of the values in the panel are for wipes or downstream effects. Values and
buttons are grayed out when they don’t apply to the selected effect.
Here’s how to use the Effect Properties panel:
Effect Picon
Displays the picon of the selected effect.
From, To
Designates which track a transition starts from and
moves to. Clicking on these buttons brings up a
pop-up menu with the options Video 1, Video 2,
and Video 3 (if you have all three video tracks open
on your timeline). This is a handy way to change
the effect without having to move clips on the
timeline.
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Aux
(Auxiliary)
Use this button in conjunction with the Border
button at the bottom of the panel to create wipes
with a third video source as the border for the wipe.
First, click on the Border button and select
Auxiliary Source from the pop-up menu. Next,
click on this Aux button near the top of the panel.
You see a pop-up menu listing the video tracks of
the timeline: Video 1, Video 2, and Video 3. Choose
the track that has the video source you want to use
as the border for the wipe. For example, if you have
a wipe that transitions from the Video 1 track to the
Video 2 track, place the source you want to use as
the border on the Video 3 track underneath the
wipe, and set this button to Video 3.
Effect Info
Displays information about the effect, including its
type.
Fade In
Sets how long (in frames) it takes for an effect to
fade in. Set this value by highlighting the number in
the box, typing in the desired number, and pressing
Enter on your keyboard. You can also click on the
number and drag your mouse up or down.
Fade Out
Sets how long (in frames) it takes for an effect to
fade out. Set this value by highlighting the number
in the box, typing in the desired number, and
pressing Enter on your keyboard. You can also click
on the number and drag your mouse up or down.
Duration
Works only with variable length effects (i.e. wipes).
This allows you to change the duration (in frames).
Reversed
Reverses the direction of an effect. Click on this
button to turn it on.
Loop While
Paused
Supports effects that are looping while the timeline
is paused. Select this button if you have an effect
that you want playing while the rest of the timeline
is paused.
Surface Wipe:
Softness
Adjusts the softness of the edges of the effect. Set
this value by highlighting the number in the box,
typing in the desired number, and pressing Enter on
your keyboard. You can also click on the number
and drag your mouse up or down. Try 25 for a soft
edge for your wipe without losing the shape of the
wipe.
Flip Vertically
Flips a transition vertically. For example, if a wipe
transitions from the top, clicking Flip Vertically
makes it transition from the bottom.
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Border
Brings up a pop-up menu with the following
options: Off, Solid Color, Graphics, and Auxiliary
Source. These options allow you to apply a border
to wipes. If you cannot apply a border to the effect
selected, this button is grayed out.
Use this Border setting in conjunction with the
Surface Wipe: Softness setting. If the Softness
setting is left on the default setting of 1, the wipe
has a hard edge with very little border, and you
won’t be able to see the border you assign. Try
setting the Softness at 25 for a soft edge and a visible
border.
Here’s what the Border choices do:
Off gives the effect no border.
Solid Color adds a colored border to the effect
(Figure 3.71). The color can be changed by clicking
on the mini color picon next to the Border button.
This brings up the Effect Border Color panel (see
the following section for information on how to use
this panel).
Figure 3.71: A Clockwise Wipe with a White Border
Graphics allows you to select the graphics from the
current DSK (downstream key) as a border.
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Use this button in conjunction with the Aux button
at the top of the panel to create wipes with a third
video source as the border for the wipe. First, click
on this Border button and select Auxiliary Source
from the pop-up menu. Next, click on the Aux
button near the top of the panel. You see a pop-up
menu listing the video tracks of the timeline: Video
1, Video 2, and Video 3. Choose the track that has
the video source you want to use as the border for
the wipe. For example, if you have a wipe that
transitions from the Video 1 track to the Video 2
track, place the source you want to use as the border
on the Video 3 track underneath the wipe, and set
this button to Video 3.
Effect Border
Color And
Matte Color
Panels
The Effect Border Color and Matte Color panels look and function the same. The
Effect Border Color panel gives you a place to select the color of a border for an
effect. The Matte Color panel is used to select the color of a matte clip on the
timeline.
Value
Slider
Color
Picon
Value
Window
Mini
Color
Picons
Figure 3.72: Effect Border Color Panel
The Effect Border Color panel is used in conjunction with the Solid Color option
for Border on the Effect Properties panel. If you choose Solid Color, you can set
the color here. You can select a color from a set of pre-mixed colors, or mix your
own color.
To access the Effect Border Color panel, right-click on an event to bring up the
Event pop-up menu, and choose Effect Properties. This opens the Effect
Properties panel (see previous section for information on how to use the Effect
Properties panel). On this panel, click on the mini color picon next to the Border
button at the bottom right of the panel. The Effect Border Color panel appears.
To access the Matte Color panel, right-click on a matte clip on the timeline, and
choose Adjust color from the pop-up menu.
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Chapter 3
Here’s how to use the Effect Border Color and Matte Color panels:
Revert
Resets settings to the original color.
Color Picon
Displays the current color. As you edit the color, the
picon changes to show the new color. Drag this
picon into a bin to save the current color.
RGB/HSV
Sets the color format. Clicking this button brings up
a pop-up menu with the options RGB (red green
blue) or HSV (hue saturation value). Choose RGB
to adjust the colors of the picon, and HSV to adjust
the hue, saturation, and value. Then use the sliders
and value windows on the top right of the panel to
adjust the properties you chose.
Red, Green,
Blue/Hue,
Saturation,
Value Sliders
and Windows
Clicking-and-dragging these three sliders changes
the color values. If you selected RGB, the sliders
adjust red, green, and blue values. If you selected
HSV, the sliders adjust hue, saturation, and value.
You can also adjust these values by typing a number
into the value windows to the right of the sliders
and pressing Enter on your keyboard.
Mini Color
Picons
These small color picons in the lower right corner of
the panel serve as a palette of pre-mixed colors.
They can be selected by dragging-and-dropping
them into the color picon on the panel, or by
double-clicking on them. The color of a mini color
picon can also be changed by dragging-anddropping the color picon onto it, allowing you to
customize the colors in the mini picon palette. Like
the color picon, the color of a mini color picon can
be saved by dragging it into a bin.
Default
Resets the mini color picons to the default colors.
Any custom color picons you created are lost unless
you saved them by dragging their picons to a bin.
Pick
Allows you to pick a color from any image on the
screen and match it exactly. To do this, click on the
Pick button. The video on the on-screen monitor
freezes so you can pick a color from the current
frame. Still holding down the mouse button, drag
the mouse over the color you want. Release the
mouse button. The color that the mouse is over
loads as the color picon, and its values are displayed
as the color values.
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Effect Properties Panel as Chroma Keyer
You can place a Chroma Key file as an event on the timeline’s FX track similar to
placing a dissolve, wipe, or other transition between two video events. Instead of
being a transition, the Chroma Keyer will key one of the video sources over the
other. If you choose the Properties menu item, the Effect Properties panel will be
shown with a slightly different interface as shown in Figure 3.73.
Figure 3.73: Alternate Effects Properties Panel
This alternate Effects Properties panel has these different features:
Key
Designates which track is the key source.
Over
Designates which track is the background source.
Mode
Displays a drop-down box that allows you to select
the keyer mode.
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Chapter 3
Using Advanced Editing Modes
The GlobeCaster Editor has five advanced editing modes that help you fine-tune
your edits quickly and precisely. These editing modes are Trim Clip, Trim Edit,
Slip Source, Slide, and Transition Edit. In these editing modes, the frames
displayed in the monitors and the controls under the monitors are tailored for
specific tasks. This section explains the purpose of each mode and the functions of
its buttons.
To activate one of the advanced editing modes, click on its button in the Timeline
Controls on the toolbar (Figure 3.74).
Figure 3.74: The Timeline Controls
Or, use the keyboard shortcuts:
1
Trim Clip
2
Trim Edit
3
Slip Source
4
Slide
5
Trans Edit
6
Add Clip
7
View
Shift + 2
Two-monitor mode
Shift + 3
Three-monitor mode
Shift + 4
Four-monitor mode
The default editing mode is Add Clip. This is the general-purpose editing mode for
logging clips and building a timeline. In this mode, the left monitors display
sources and the right monitor displays the output, the timeline or record deck. To
return to this mode, click on the Add Clip button in the Timeline Controls on the
toolbar.
The advanced editing modes can be used for linear or non-linear editing. When
working with linear clips, turn on Tape Scrub in the Editor Options panel if you
want the monitors to update as you adjust the clips (see “Editor Options Panel” on
page 93 for information on how to do this).
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The advanced editing modes are useful when working with digitized clips, as Time
Machine automatically adds 1 second of trim room on each end of the clip. The
advanced editing modes let you see the true in and out points of the clips.
For all but one of the editing modes, you can choose whether to view two, three, or
four monitors. The exception to this is Transition Edit mode. This mode requires a
four-monitor display and opens four monitors automatically when you click the
Trans Edit button.
Slip Source and Slide modes work differently in the two-monitor display, but if you
open four monitors these two modes are the same. In four-monitor mode, both
Slip Source and Slide function as Slip Source for the clip in the middle two
monitors and Slide for the clips in the end monitors. Both the Slip Src and Slide
buttons on the interface light up to remind you that both modes are active. This
allows you access to both functions at once, so you can choose to adjust the in and
out points without changing the clip’s duration or position on the timeline (Slip
Source mode), or by adjusting the duration of the clip and adjusting neighboring
clips to compensate (Slide mode).
In the advanced editing modes, gray tracks that simulate the sprocket holes on the
edge of film appear above and below the monitors (Figure 3.75). These are a visual
cue to help you see which frames are on the same clip. If the sprocket holes are
continuous between two monitors, the frames displayed by the monitors are on the
same clip. If there is a break between the sprocket holes, the frames are from
different clips.
Sprocket Holes From Different Clips
Sprocket Holes From Same Clip
Sprocket Holes From Same Clip
Figure 3.75: Film Sprocket Holes in Transition Edit Mode
In each editing mode, transport controls appear under appropriate monitors.
These controls are similar to the controls on a VTR.
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Chapter 3
Following is a description of the transport controls:
Transport
Controls
Control the selected device. The buttons, in order
from left to right, are:
•
Jog Back 10 Frames
Moves back or trims 10 frames at a time
•
Jog Back 5 Frames
Moves back or trims five frames at a time
•
Jog Back 1 Frame
Moves back or trims one frame at a time
•
Pause
Puts deck in Pause mode, pausing playback if
the deck is rolling, or spooling the tape so it is
ready to play if the deck is stopped.
•
Jog Forward 1 Frame
Moves ahead or trims one frame at a time
•
Jog Forward 5 Frames
Moves ahead or trims five frames at a time
•
Jog Forward 10 Frames
Moves ahead or trims 10 frames at a time
The following sections explain the functions of the other monitor controls in the
advanced editing modes, as well as the purpose of each mode.
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Trim Clip Mode
127
Trim Clip mode is designed for trimming single clips. It displays the first frame of
the selected clip in the left monitor, and the last frame of the clip in the right
monitor (Figure 3.76). The controls trim or add time to the beginning or end of
the clip. There is an option, Loop Clip, that allows you to play the clip repeatedly
in a loop so you can see the in and out points as you adjust them.
Figure 3.76: Trim Clip Mode
Following is an explanation of the control buttons in Trim Clip mode:
In/Out
Timecode
Displays the timecode of the selected clip’s in point
and out point. To set a specific timecode as the in or
out point, type in the timecode and press Enter on
your keyboard.
Revert
Undoes changes to the selected clip and reverts to
the clip settings from the last saved version of the
timeline. The timeline must have been saved at least
once in order for this to work. To use this function,
click on the desired clip to select it, then click on
the Revert button. The clip may not be able to
revert if you have trimmed it and moved another
clip into its spot on the timeline.
Loop Clip
Plays the selected clip in a continuous loop. You can
use this feature to repeatedly play a clip as you finetune its in and out points. To stop the loop, click
this button again, or click the stop or pause buttons
in the transport controls.
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Chapter 3
Loop Clip
Timecode
Sets the amount of the timeline that is included in
the loop before and after the clip. If you type
00:00:01:00, for example, and press Enter on your
keyboard, the loop begins playing 1 second before
the clip and continues playing 1 second after the
clip.
Use the -/+ buttons to the right to decrease or
increase this time by 1 second.
Duration
Displays the duration of the clip. Change the
duration of the clip by typing in a timecode and
pressing Enter on your keyboard.
Use the -/+ buttons to the right to decrease or
increase the duration by 1 second.
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Trim Edit Mode
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Trim Edit mode helps you adjust edits between two clips. It is designed for
precision editing down to individual frames. The left monitor displays the last
frame of the preceding clip and the right monitor displays the first frame of the
selected clip. You can trim time off or add to the clips. There is an option, Loop
Edit, that allows you to play the transition between the clips repeatedly in a
continuous loop, and an option, Loop Clip, that allows you to play the selected
clip in a loop.
Figure 3.77 shows the GlobeCaster Editor in Trim Edit mode.
NOTE: Click on the
second clip of the edit
to select it in order to
load the monitors
properly.
Figure 3.77: Trim Edit Mode
In Trim Edit mode, you can also choose to display four monitors if you want to see
the first frame of the first clip and the last frame of the selected clip.
Following is an explanation of the buttons in Trim Edit mode:
Out/In
Timecode
Displays the timecode of the last and first frames of the
edit. To set a specific timecode as the last or first frame
of one of the clips, type in the timecode and press Enter
on your keyboard.
Revert
Undoes changes and reverts to the properties set for the
clip in the last saved version of the timeline.
Loop Edit
Plays the selected portion of the timeline in a loop. This
allows you to watch the edit repeatedly and see the new
in and out points as you change them. To stop the loop,
click this button again, or click the stop or pause
buttons in the transport controls.
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Loop Edit
Timecode
Sets the amount of the timeline that is included in the
loop before and after the edit. If you type 00:00:01:00,
for example, and press Enter on your keyboard, the
loop begins playing 1 second before the edit and
continues playing 1 second after the edit.
Use the -/+ buttons to the right to decrease or increase
this time by 1 second.
Loop Clip
Plays the selected clip in a continuous loop. You can use
this feature to repeatedly play a clip as you fine-tune its
in and out points. To stop the loop, click this button
again, or click the stop or pause buttons in the transport
controls.
Loop Clip
Timecode
Sets the amount of the timeline that is included in the
loop before and after the clip. If you type 00:00:01:00,
for example, and press Enter on your keyboard, the
loop begins playing 1 second before the clip and
continues playing 1 second after the clip.
Use the -/+ buttons to the right to decrease or increase
this time by 1 second.
Duration
Displays the duration of the clip. Change the duration
of the clip by typing in a timecode and pressing Enter
on your keyboard.
Use the -/+ buttons to the right to decrease or increase
the duration by 1 second.
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Slip Source
Mode
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Slip Source edit mode is used to adjust the in and out points of a clip without
changing its duration or position on the timeline. It “slips” the video forward or
backward, in effect trimming one end and extending the other simultaneously.
This is useful, for example, if you finish building a timeline but decide you wish a
clip started a few frames earlier.
In Slip Source mode, the monitors and controls look like Figure 3.78:
Figure 3.78: Slip Source Mode
You can also open four monitors in Slip Source mode. If you do this, you see the
Slide mode button on the toolbar also turn on. This indicates that the selected clip,
shown in the middle monitors, is in Slip Source mode, and the neighboring clips,
shown in the monitors on the ends, are in Slide mode. This is the same when you
open four monitors in Slide mode.
In Slip Source mode, the Roll and Slide Edit buttons in the Editor Options panel
are on by default. These options allow you to perform the same options with the
mouse as with the transport controls. Roll causes the mouse to behave like Slip
Source when you click on a clip, and Slide Edit causes the mouse to behave like
Trim Edit mode when you click on the trimming handle of a clip. To change these
options, open the Editor Options panel by clicking on the Options button on the
right side of the toolbar. See “Editor Options Panel” on page 93 for more
information about this panel.
Following is an explanation of the controls in Slip Source mode:
Src In/Src Out
Timecode
These boxes display the timecode on the source
tape. This is different than timecode displays in the
other editing modes, which display either the
timecode of the timeline or the output tape.
Revert
Undoes changes and reverts to the properties set for
the clip in the last saved version of the timeline.
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Chapter 3
Slide Mode
Slide editing mode is designed to adjust cut edits. In Slide mode, you can extend
the length of a clip, and the neighboring clip is automatically trimmed to
compensate.
Figure 3.79 shows the monitors and controls in Slide mode.
Figure 3.79: Slide Mode
You can also open four monitors in Slide mode. If you do this, you see the Slip
Source mode button on the toolbar also turn on. This indicates that the selected
clip, shown in the middle monitors, is in Slip Source mode, and the neighboring
clips, shown in the monitors on the ends, are in Slide mode. This is the same when
you open four monitors in Slip Source mode.
When four monitors are open in Slide mode, the Roll and Slide Edit buttons in the
Editor Options panel are on by default. These options allow you to perform the
same options with the mouse as with the transport controls. Roll causes the mouse
to behave like Slip Source when you click on a clip, and Slide Edit causes the
mouse to behave like Trim Edit mode when you click on the trimming handle of a
clip. To turn these options off, open the Editor Options panel by clicking on the
Options button on the right side of the toolbar. See “Editor Options Panel” on
page 93 for more information about this panel.
Following is an explanation of the controls in Slide edit mode:
Out/In
Timecode
Displays the timecode of the last and first frames of
the clips. To set a specific timecode as the last or
first frame of one of the clips, type in the timecode
and press Enter on your keyboard.
Revert
Undoes changes and reverts to the properties set for
the clip in the last saved version of the timeline.
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Transition Edit
Mode
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Transition Edit mode (Trans Edit on the button face) is used to adjust the
beginning and ending points of transitions. Adjustable transitions, such as wipes
and dissolves, automatically adjust in length to match the overlap of the two clips.
When the GlobeCaster Editor is in Transition Edit mode, it automatically goes to a
four-monitor display. If you do not see frames from your clips displayed in all four
monitors, click in the timeline on the second clip of the transition to load them
into the monitors.
In Transition Edit mode, the Lock Trans button in the Editor Options panel is on
by default. This locks the in and out points of a transition to the in and out points
of a clip when you drag the trimming handles of the clip. So, if you make the
overlap area of the clips shorter, the transition is also shorter. To turn this option
off, open the Editor Options panel by clicking on the Options button on the right
side of the toolbar. See “Editor Options Panel” on page 93 for more information
about this panel.
Figure 3.80 shows the monitors and transport controls in Transition Edit mode.
Figure 3.80: Transition Edit Mode
Following is an explanation of the controls in Transition Edit mode:
Trn (Transition)
Out
Displays the timecode for the first frame of the
transition on the first clip.
Out
Displays the timecode for the last frame of the
first clip.
Trn (Transition)
In
Displays the timecode for the first frame of the
second clip.
In
Displays the timecode for the last frame of the
transition on the second clip.
Revert
Undoes changes and reverts to the properties set
for the clip in the last saved version of the
timeline.
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Chapter 3
T (Transition)
Duration
Displays the length of the transition.
-/+
Decreases/increases the length of the transition by
1 second.
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Timeline Flattening
Timeline flattening allows the user to compress the events on a timeline into one
TM Clip event. You can select the whole timeline or only certain events to be
flattened.
Flattening a Single Event
To flatten a single event, simply right-click on an event in the timeline and select
Flatten Event from the menu. For instance, right-clicking on a dissolve event
displays the popup menu shown in Figure 3.81.
Figure 3.81: Flatten Event
Selecting Flatten Event will compress everything found in the range of the dissolve
event (Figure 3.82) and place the resulting flattened clip on the first track.
Selected
Range
Figure 3.82: Selected Range
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Chapter 3
Flattening Multiple Events
Flattening multiple events is similar to flattening a single event.
First, select the events to be compressed (by holding the Ctrl key and left-clicking
on each event). Flatten them by right-clicking on the timeline to display the
following drop-down menu (Figure 3.83), and then select Flatten Selected.
Figure 3.83: Choosing Flatten Selected
Not only will the selected events be flattened, but everything in the range of those
events will also be flattened, as shown as Figure 1.5. Each selected event will be
replaced by its resulting flattened clip.
Selected Range
Figure 3.84: Selected Ranges
Flattening the Timeline
To flatten the entire timeline, simply right-click on the timeline as above and select
Flatten Timeline. This will flatten the entire timeline into one TM Clip. This is
especially useful if you want to export the entire timeline as an AVI clip.
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Flattening Notes and Tips
Here is some information that will help you with your timeline flattening.
•
Digitize any linear clips before flattening.
•
There are only two video channels on the Time Machine, one of which is used
to record the resulting clip. Thus, if there is a transition between two clips, one
of the clips is recorded to a warp engine as if it were a ClipMem. The longer
the transition, the more memory is required on a ClipMem. If there is not
enough memory on a warp engine, then the transition will be split into multiple segments, resulting in more than one flattened clip.
•
During the flattening process, you may see one of the Time Machine clips
being played, this is just the Time Machine clip being recorded to a warp
engine.
•
There are eight channels of audio treated as four stereo pairs on a Time
Machine. One stereo pair is used to record, so only three stereo pairs can be
played during a flatten. An error message will be shown if more than three
pairs is attempted.
•
Flattening clips will result in generation loss. If digitized quality is an issue,
only flatten those events that require flattening, rather than the entire timeline. This technique can be applied to those with limited memory resources as
well.
•
When flattening, an effect may get split. If it was a variable size effect, it can no
longer be resized, nor should it be moved in order for it to look continuous
after part of it has been flattened.
•
All flattened clips are stored in the Time Machine and have the file structure:
Flat.timelinename.startpoint.duration
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Chapter 3
Digitizing With Time Machine
This section of the chapter explains how the GlobeCaster Editor’s digitizing
functions work. If you have Time Machine installed, there are several ways to
digitize clips. You can digitize clips on the timeline, or send clips to a queue to be
digitized in a batch. The Batch Digitize window allows you to adjust settings, such
as compression level and color correction, for individual or groups of clips.
You can also digitize your program out in the GlobeCaster Switcher by using the
VTR Transport/Sync Roll/Live Digitize panel. See the GlobeCaster Switcher
Manual for information on how to do this.
You can digitize WAV and AVI files by dragging them onto the timeline, or by
adding them to the Batch Digitize list.
Each digitized clip has a default of 1 second of trim room at the head and tail of the
clip. This is so you can make minor adjustments in the in and out points without
having to re-digitize the clip from the source tape.
When you are working with non-linear clips, the GlobeCaster Editor automatically
accounts for changes you make to the playback speed and loop count. For
example, say you set the playback speed for a clip to play in reverse. When you
scrub through that clip on the timeline, you see the end of the clip first. Then it
plays back to the beginning of the clip as you scrub through the clip on the
timeline. And, if you open an advanced editing mode, such as Trim Clip, what you
see in the monitor labeled First Frame, Selected Clip is actually the last frame of
the clip, since that is what you see first when the clip is played in reverse.
You can re-digitize a clip if you want to change its properties, such as the
compression level used. You can, for example, initially digitize all your clips for a
project at a high compression level, giving you smaller file sizes. Then, when you
have built your timeline and know which clips you actually want to use, you can
delete the extras and re-digitize the ones you want at a lower compression level for
better image quality.
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Where Are The
Clips Saved?
NOTE: If you delete
the clips from the
Time Machine hard
drives, the shortcuts
in the bins will be
useless unless you redigitize them. Don’t
make the mistake of
thinking you have a
copy of a clip saved in
a bin. The picon in a
bin is only a shortcut,
as the clips are saved
only on the Time
Machine hard drives.
139
Time Machine saves digitized clips to your dedicated Time Machine hard drives
inside your GlobeCaster unit. You can also create shortcut picons for Time
Machine clips and save them in any bin by dragging the clip picon into the bin.
For most practical purposes, the shortcut picons act just like clips. This is not true,
however, when it comes to deleting the clips. You can delete shortcuts to the clips
in the bins where they are located, but to delete the clips themselves you must
navigate to the Time Machine hard drives.
You can access the Time Machine hard drives by parenting up through your bins.
This allows you to delete clips or load clips directly from the hard drive. To access
the Time Machine hard drives, do the following:
1.
In one of the open bins on your screen, click the A button in the upper right
corner of the bin (Figure 3.85).
Parent Button
A Button
Time
Machine
Drives Icon
Figure 3.85: The System Bin
NOTE: You can
save as many shortcuts to Time Machine
clips in bins as you
want. Multiple shortcuts can reference the
same audio and video
footage on the Time
Machine hard drives.
Each shortcut can
contain different clip
properties, such as in
and out points, strobe
rate, etc.
This opens additional options for bin navigation.
2.
Click on the Parent button until you get to the System bin.
You see four options in the system bin: Desktop, Logical drives, Time
Machine, and GlobeCaster (previous figure).
3.
Double-click on the Time Machine picon.
You see an icon of a book (Figure 3.86). This represents the “volume” of Time
Machine you are using. Currently there is only one volume.
Home
Button
Figure 3.86: Volume Icon in Time Machine Bin
4.
Double-click on the volume icon.
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Chapter 3
NOTE: These clips
are the actual audio
and video data only.
The Time Machine
hard drives do not
contain clip properties, such as in and
out points, strobe rate,
etc. These clip properties are saved in the
shortcuts for the clips
in the bins on your
PC.
You see a bin containing picons of your digitized clips (Figure 3.87).
Figure 3.87: Digitized Clips on Time Machine Hard Drives
To load your digitized clips into a monitor or onto the timeline, drag the picon
from this bin to where you want to load it.
This is where you delete your clips from the Time Machine drives. To do this,
right-click on a clip picon and choose Delete from the pop-up menu.
When you want to return to the bin you started from, click the Home button.
Digitizing A
Clip On The
Timeline
To digitize a clip on the timeline, (left-)click on the clip to select it. Then, rightclick on the clip and choose Digitize to Time Machine from the pop-up menu, or
click on the Digitize button on the toolbar. You see a horizontal bar go up and
down in the picon for the clip, telling you that Time Machine is digitizing the clip.
The bar containing the clip picon on the timeline turns dark blue, indicating it is
digitized
You can select multiple clips to digitize on the timeline. There are two ways to do
this. One is to hold down the Control key on your keyboard and click on the clips
to select them. The other is to right-click on a clip and choose one of the select
options, such as Select All, Select Track, Select From Here, etc., from the pop-up
menu (see “Timeline Event Pop-Up Menu” on page 99 for information on all the
selection options). Once you select the clips, digitize them the same way as single
clips, by choosing Digitize to Time Machine from the pop-up menu, or by clicking
on the Digitize button on the toolbar.
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Selecting Clips
For Batch
Digitizing
141
There are three ways you can add clips to the Batch Digitize bin. You can select
them from the timeline, you can use AutoBatch to automatically send them to the
Batch Digitize bin as you log them, or you can drag picons from a bin into the
Batch Digitize window To do list.
Sending your clips to the Batch Digitize window does not save them. To save them,
you must open the Batch Digitize window and either digitize the clips or save the
To do list before exiting the GlobeCaster Editor.
You can send clips from as many tapes as you want to the Batch Digitize window.
Once you open that window, you can select all the clips from each tape by clicking
on the tape name in the Tape List. Or, you can digitize the whole batch, and Time
Machine prompts you to change tapes as needed.
Selecting Clips to Batch Digitize from the Timeline
To queue clips for batch digitizing from the timeline, select the clips you want to
digitize. Do this by holding down the Control key on your keyboard and clicking
on the clips you want, or by right-clicking on a clip and choosing one of the select
options, such as Select All or Select From Here, from the pop-up menu. Then,
right-click on one of the selected clips and choose Add to Batch Digitize from the
pop-up menu.
Using AutoBatch
To automatically send clips to the Batch Digitize bin as you log them, click on the
AutoBatch button under the right monitor. Log your clips by marking the in and
out points, and clicking the New Clip button under the right monitor between
each clip.
Dragging Picons to the To do list
When the Batch Digitize window is open (open it by clicking on the Batch button
on the left side of the toolbar), you can add clips to the queue by dragging them
from a bin to the To do list. You can also drag clips from the To do list to a bin to
save a shortcut for that clip in the bin.
Digitizing AVI
And WAV Files
There are two ways you can digitize AVI and WAV files. You can drag an AVI or
WAV file from the bin onto the timeline in the GlobeCaster Editor, and if you have
Time Machine installed, it is instantly digitized. Or, you can add it to the To do list
in the Batch Digitize window. Do this by clicking on the Batch button on the left
side of the toolbar to open the Batch Digitize window, then either dragging the AVI
or WAV file picon from a bin into the To do list or double-clicking on the picon.
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Chapter 3
Dropping Video
Files Into The
Timeline
When you drop video file (i.e. AVI, MOV, MP3) onto the timeline to digitize it, a
new dialog box will be displayed allowing you to choose the quality settings.
Figure 3.88: Importing AVI Compression Settings
Using The
Batch Digitize
Window
Use Default
Compression
Settings
Click this box to use the default compression
settings. When this option is checked, the dialog box
is greyed out.
Revert to
Digitized
Settings
Click this option to revert back to the original
settings for compression.
Compression
Use this slider to alter the compression level for the
video file. The higher the number, the less the
quality will be.
Ok
Click Ok to save your settings and continue
importing the video file.
Cancel
Cancels any settings you’ve made and does not
import the video file.
Time Machine’s batch digitizing function is controlled through the Batch Digitize
window. In this window, you can set properties for individual clips and select clips
to digitize in a batch.
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To access this window, click on the Batch button on the left side of the toolbar. The
Batch Digitize window opens
.
Tape List
Batch List
Message Area
Figure 3.89: The Batch Digitize Window
Here’s how the functions in these windows work:
Clips Selected
Displays the number of clips selected in the To do
list. A clip is selected if the square button in the
Select column is on (blue), and is not selected if
this button is off (gray). Select clips by clicking on
this button. Or, select all clips by clicking on the
Select All button. Or, select all clips from a single
tape by clicking on the name of the tape in the
Tape List.
Total Time
Selected
Displays the total length of the clips selected in
the To do list.
Approx Space
Required
Displays the approximate amount of space (in
bytes) on your hard drive that the selected clips
require.
Space Available
Displays the amount of available space (in bytes)
on your hard drive.
Tape List
Lists the tapes from which the selected clips are
taken. To select all clips from a single tape for
digitizing, click on the name of the tape in the
Tape List.
Select All
Selects all the clips in the To do list.
Deselect All
Deselects all the clips in the To do list.
Remove Selected
Removes the selected clip from the To do list.
Active Deck
Status
Displays messages, such as Playing or Cueing,
regarding the status of the active deck.
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Chapter 3
Start
Begins digitizing the selected clips.
Stop
Halts the digitizing process.
Manage Tapes
Tells Time Machine which tape is currently in a
source. This allows you to tell Time Machine that
a new tape is in the deck before the tape is
requested. To do this, click on the button. Select
the deck you want from the pop-up menu.
Another pop-up menu appears. Select the new
tape you just placed in the selected deck.
Batch List Picon
This picon represents the Batch List (the clips
listed in the To do list bin). You can save the list
and digitize some or all of the clips later by
dragging this picon into a bin. When you are
ready to work in it again, double-click on it and it
loads into the To do list.
To set the image for this picon, select one (make
sure only one clip is selected) clip in the To do
list. Then right-click on this picon, and choose
Set Picon to selected clip from the pop-up menu.
As you digitize the batch, you see a white status
bar go up and down in this picon until the
digitizing is complete.
Save List
Saves the list of clips in the To do list so you can
return to it later. The default bin these lists are
saved in is GlobeCaster\Bins\Clips. The picon
has a GlobalStreams logo (unless you set a picon),
and the default name is Batch followed by a fourdigit number. The file extension is .pbl (The
GlobeCaster Editor batch list). To open a list
saved in a bin, open the Batch Digitize window
and double-click on the picon. The list is loaded
as the current To do list.
Clip %
A visual status bar that indicates how far the
digitizing of a clip has proceeded. The bar turns
green from the left.
Total %
A visual status bar that indicates how far the
entire digitizing process (of all selected clips) has
proceeded. The bar turns green from the left.
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In Bin/In
Timeline
Use these buttons in conjunction with the Save
Now button to designate where picons of
digitized clips are saved.
(All digitized clips are actually saved on the Time
Machine hard drives, but picons representing
shortcuts to these clips can be saved in any bin.
So, what you are actually designating with these
buttons is where the shortcuts are saved. In
practice these picons behave as if they were the
actual clips, except that if you want to delete the
clip, and not just the shortcut, you must navigate
to the Time Machine hard drives to do so. For
information on how to do this, see “Where Are
The Clips Saved?” on page 139.)
In Bin stores picons of the clips in the bin
designated for Unsaved TM in the Global
Settings panel. The default is
GlobeCaster\Bins\Clips. For more information
on how to set paths in the Global Settings panel,
see the “Using Configure Panels” chapter in the
GlobeCaster User Guide.
In Timeline places picons of the digitized clips
directly in the timeline you are building. If you
already have a timeline loaded, you are prompted
to save.
After choosing In Bin or In Timeline, click the
Save Now button.
You can save clip picons to both the timeline and
the bin by choosing first one and clicking Save
Now, and then choosing the other and clicking
Save Now.
Save Now
Used in conjunction with the In Bin or In
Timeline buttons (see explanation above).
Message area,
OK
Displays messages regarding the status of the
digitizing process. If there are errors, a message is
displayed here. If the message is too long to see all
of it, right-click on it and it is displayed in a popup window. Click OK to clear the message area.
_, ?, X
As in other Windows applications, _ minimizes
the application, ? opens a help window, and X
closes the application.
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Chapter 3
Editor
To Do List
Closes the Batch Digitize window and returns
you to the GlobeCaster Editor interface. If you
want to save your To do list, click Save List
before clicking on this button to exit the Batch
Digitize window. Otherwise, when you restart or
reset GlobeCaster the To do list will be lost.
Across the bottom portion of the Batch Digitize window is the To do list. This not
only acts as a bin, but also allows you to set certain features for individual clips.
Here’s how to use it:
As in other bins in GlobeCaster, right-clicking in a blank area of the To do list in
the Batch Digitize window brings up a pop-up menu. The items on this menu
allow you to manage the items in your bins. For information on how to use bin
functions, see the “The GlobeCaster Interface” chapter in the GlobeCaster User
Guide.
A
Toggles the navigation buttons (Back, Forward,
Home, and Close) and long path name on and off.
Note that the Parent button, which takes you up
one level in the directory, is always available,
whether A is toggled on or off. Right-clicking the A
button brings up a pop-up menu with options that
change how picons are displayed in the bin. These
options are Large, Small, List, Detail, and Clip.
Large: Displays the picons at a larger size.
Small: Displays picons at a smaller size.
List: Displays the picons and their names.
Detail: Displays the picons and the following
information: Name, Size, Type, Modified, and
Attrib (attributes).
Clip: Displays the picons and the following
information: Name, Length, Source In (in point),
Source Out (out point), and Comments.
NOTE: If some of the fields of information in the bin
do not appear in the display as you change the type
of view, you can recover those fields by clicking the
Parent button to go up one level in the directory,
and then reopening the To do list folder.
X
Closes the bin. Open a new bin by right-clicking in
the empty space on the screen and choosing New
Bin from the pop-up menu.
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Parent
Takes you one level higher in the directory. If you
click on this, you see the following folders, To do
list, Tapes, and Volumes.
To do list is the list of clips waiting to be digitized. It
is the default folder that is open when you open the
Batch Digitize window.
The Tapes folder contains a folder for each tape, and
clips from each tape. This allows you to quickly find
and digitize clips from a specific tape.
Volumes is for a future enhancement.
Path box
Shows exactly where on your hard drive a bin is
found. Navigate through bins by typing a new path
in this box.
Back
Takes you to the previous bin. If you haven’t opened
any bins before the current one, this is grayed out.
Right-clicking on the Back button brings up a
navigation history pop-up menu for navigating
without intervening stops.
Forward
Takes you to the bin that you navigated to after the
current one, when navigating through a series of
bins. If you haven’t opened any bins since you
opened the current bin, this tool does not function.
Right-clicking on the Forward button brings up a
navigation history pop-up menu for navigating
without intervening stops.
Home
Opens the bin that was open when a layout was last
saved. There can be as many different Home bins as
there are layouts for each application.
Close
Closes the bin. Another bin is opened in this space
by right-clicking in the space and choosing New Bin
from the pop-up menu. Or you can expand another
bin into the empty space by dragging it out to a new
size.
Icon
Displays a picon of the clip. Drag the picon to a bin
to save a shortcut for the clip.
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Chapter 3
Select, State
Click on the square button in the Select column to
select whether or not a clip is included in the batch
to be digitized. If the square is dark blue, the clip is
selected for digitizing; if the square is gray, the clip is
not selected for digitizing.
Clicking on this square also toggles the status of the
clip in the State column between an active and
inactive one.
If the clip is a linear clip, its State toggles between
Waiting and Ignored. If the state is Waiting, it
means the clip is waiting to be digitized, and it will
be included in the batch when you click Start. If the
state is Ignored, the clip will be omitted from the
batch.
Sometimes you will want to re-digitize clips that
have already been digitized in order to change their
settings. If the clip has already been digitized, its
State toggles between Digitized and Rescheduled. If
the state is Digitized, GlobeCaster recognizes that
the clip has already been digitized, and it will be
omitted from the next batch. If the state is
Rescheduled, the clip has been scheduled to be redigitized, and it will be included in the next batch.
NOTE: If you are re-digitizing a clip and you do not
want to overwrite the previously digitized version,
be sure to change the name of the clip before you redigitize it.
Name
Displays the name of the clip.
Tape
Displays the name of the tape from which the clip is
taken.
Volume
Indicates the Time Machine “volume” number
where the clip is saved. Currently there is only one
Time Machine volume.
Start
Displays the starting timecode of the clip.
Length
Displays the length of the clip in timecode.
End
Displays the ending timecode of the clip.
Components
Allows you to select the components you want:
Video, Audio 1 & 2, or Audio 3 & 4.
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Compression
Allows you to select the relative level of
compression for the clip. To do this, click on the
button. A pop-up menu appears. Default, the
automatically selected setting, gives the highest
image quality. Moving from Default toward 6 gives
you progressively more compression and, thus, less
quality. You can set a different compression level for
each clip to be batch digitized.
The compression ratio can also be changed in the
Digitize Settings panel. Access this panel by clicking
on the Configure button on the GlobeCaster Editor
toolbar and selecting Digitize Settings from the popup menu. For information on this panel, see the
“Using Configure Panels” chapter in the GlobeCaster
User Guide.
NOTE: The GlobeCaster Time Machine uses
wavelet compression to digitize video. Wavelet
compression offers better video quality for less hard
drive space than the standard M-JPEG compression,
which most other non-linear editing systems use. A
compression ratio of about 5:1 with Time Machine
is visually unchanged, and is roughly equivalent to a
1.5:1 ratio on an M-JPEG system. Another
advantage of wavelet compression is that you won’t
see any digital artifacts, such as the pixel blocks that
may show up on M-JPEG compressed video.
Wavelet compression, even at high compression
ratios, retains the look of analog tape.
User
Enter a user name for the clip here. This is
convenient if your Time Machine is used by more
than one person, and you want to keep track of your
digitized clips. To enter a user name, click once on
the clip to select it, then click in the User box. A
cursor appears and you can type in the name.
Project
Enter the name of the project which the clip is part
of. To do so, click once on the clip to select it, then
click in the Project box. A cursor appears and you
can type in the name of the project.
Comments
Enter comments here. To do so, click once on the
clip to select it, then click in the Comments box. A
cursor appears and you can type in your comments.
Size
Displays the size (in bytes) of the clip after it is
digitized. This changes according to the
compression level you choose.
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Rename/Delete
Pop-Up Menu
You can use the Rename/Delete pop-up menu to rename or delete a clip. To do this,
select the clip. Then, right-click in the row of the selected clip. The Rename/Delete
pop-up menu appears.
Figure 3.90: The Rename/Delete Pop-Up Menu
Select the desired option from the pop-up menu. If you select Delete, the clip is
deleted from the To do list bin, but not from other bins where you have saved it. If
you select Rename, the yellow band across the row of the clip you selected turns
purple, and a cursor appears at the beginning of the clip name. Type in a new name
for the clip and press Enter.
Digitizing CD
Audio Tracks
You can digitize a CD audio track to the Time Machine by navigating to the CD
drive on the host PC and dragging a .CDA (CD Audio) file onto the timeline.
Figure 3.91 illustrates this process.
Figure 3.91: Dragging a CD Audio File From the Bin
When the .CDA file is dropped onto the timeline, the Track Name Search Panel is
automaticallydisplayed allowing you to search for the correct name of the track.
Once you have accepted the name (or have chosen your own) Editor will start
digitizing the file. This process may take several minutes during which most of the
buttons will become disabled.
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Track Name
Search Panel
Before an CD Audio file is digitized, you have the option of searching for the
correct name of the track using this panel.
Figure 3.92: Track Name Search Panel
Track Search
Sites
Lists all of the URLs you can search. Click on the
site(s) you wish to use.
URL:
Type in the name of the URL you wish to search.
Add Search
Site
Click on this button to add the URL to the Track
Search Site list.
Don’t Search
Clicking this box will skip this panel the next time
you import a .CDA file. Keep in mind that selecting
this item will prevent this panel from displaying
again. Holding down the SHIFT button while dropping
the file onto the timeline will display this panel again.
Automate
Search
Clicking this box will automatically search the site
that you have selected from previous searches the
next time you import a .CDA track. If the search
returns conflicting track names, it will allow you to
select from the choices (displayed in the Track
Matches section); otherwise the panel isn’t displayed.
Holding down the SHIFT button while dropping the file
onto the timeline will display this panel again.
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Name
Displays the name that will be used for this track.
You may edit this name or select it from the Track
Matches section.
Status Box
Box that displays the current status of the search
process.
Accept Name
Click on this button to accept the name of the track.
Cancel Search
Click on this button to cancel the search process.
Cancel
Import
Click on this button to canel importing (and
digitizing) the track file.
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Exporting Time Machine Clips with Audio Compression
On the timeline of a digitized clip, right-click to display the context menu. From
this menu, select Export to AVI. The Audio/Video Export Configuration panel
will display.
Figure 3.93: Audio/Video Export Configuration Panel
File Name
Enter the name of the file you wish to export. You
may click on the Browse button to popup the
standard Windows® browser window.
File Format
Drop-down menu that contains the various file
formats in which to which you may export.
Video Codec
Drop-down menu that contains compression
schemes associated with your compute. Each
computer will vary in the contents of this menu.
Configure
Certain codecs are configurable and have a
configuration window associated with them. This
button will popup the Configuration window if the
currently selected codec is configurable.
Width
Adjusts the width. Either click in the value box or
drag the slider to increase/decrease to change the
value.
Height
Adjusts the height. Either click in the value box or
drag the slider to increase/decrease to change the
value.
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Video Frame
Rate
Drop-down menu that allows you to select the frame
rate of the video exported to the AVI file.
Maintain
Aspect Ratio
When selected, locks the width and height
adjustments together to maintain an even aspect of
width and height.
Use Square
Pixels
When selected, changes the pixels from rectangle to
square. This is typically used when exporting AVIs
to the Web.
Crop to DVD
Size
When selected, removes the first two lines and the
last four lines of the video frames creating a 720x480
resolution (for NTSC).
Reverse Fields
When selected, reverses the field order of every
frame.
Audio
Format/Codec
Drop-down menu that allows you to select the audio
format. Each computer will vary in the contents of
this menu.
Audio Format
Attribute
Drop-down menu that is dependent upon the audio
format that you choose.
Ok
Accepts the changes you’ve made and exports the
file.
Cancel
Cancels the exportation process.
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Animating Audio On The Timeline
The timeline audio tracks and pop-up menus give you the ability to adjust audio
levels while working in the timeline. This is an easy way to sync the audio levels
with the clips on your timeline.
When you first place clips on the timeline, only video tracks are visible
(Figure 3.94).
Plus
Signs
Figure 3.94: Video Tracks on the Timeline
To open the audio tracks for a video track, click on the plus sign next to the name
of the video track, or right-click in a blank spot in the timeline and choose Expand
Tree or Expand All from the pop-up menu. You see two audio tracks for each
video track (Figure 3.95).
Audio
Tracks
Figure 3.95: Video and Audio Tracks on the Timeline
In addition to the audio tracks, which can be used to adjust the length of the audio
clip, there is a Level track for each audio track. The Level track can be used to
animate the volume level of the audio. To open the Level track, click on the plus
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sign next to the name of the audio track, or right-click in a gray area of the timeline
and choose Expand All from the pop-up menu.
Keyframe
Audio
Level
Tracks
Figure 3.96: Video, Audio, and (Audio) Level Tracks on the Timeline
To hide the tracks, click on the minus sign next to the name of the track. This
hides the child tracks. In other words, if you click on the minus sign next to Audio
1, its child Level track is hidden. If you click on the minus sign next to Video 1, its
two audio tracks and two levels tracks are all hidden.
Right-clicking in the Level track brings up the Timeline pop-up menu (see
“Timeline Event Pop-Up Menu” on page 99 for information on how to use this
menu). The following options allow you to adjust the height of the Level tracks so
you can edit precisely.
Halve track height
Displays the selected audio track at half its
current height.
Reset track height
Resets the selected audio track height to its
original height.
Double track height
Displays the selected audio track at twice its
current height. (You may want to do this if you
want to drag a level all the way down to Off.
Or, you can right-click on a keyframe to open
the Edit Key panel and use the slider to set the
level to off. See the following section, “Edit
Key Panel,” for more information on this.)
Adjustments to the audio tracks are made by clicking-and-dragging on the audio
clips or the audio keyframes, or via several pop-up menus. The pop-up menus are
described in the following sections.
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Decibel Level
157
When you left-click on a keyframe control knob (Figure 3.97) on a Level track, a
box appears that indicates the decibel level of the audio in that track.
Keyframe
f
Control
Knob
Figure 3.97: Decibel Level
0 dB represents an unchanged audio level. Audio engineers may find it helpful to
know that the settings in the Level track act as an attenuator, and every -6 dB
halves the audio level (-6 dB is half the original level, -12 dB is a quarter, -18 dB is
an eighth, etc.).
You can change the decibel level by dragging the keyframe down, or by typing in a
number in the Edit Key pop-up box (see following section). You can also drag
keyframes left or right, except for the beginning and ending keyframes, which are
fixed at the ends of the audio clip.
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Edit Key Panel
The Edit Key panel allows you to fine tune the volume levels of the audio tracks.
To access it, right-click on a keyframe. Select Edit Key from the pop-up menu (see
the following section, “Audio Tracks Pop-Up Menu,” for information on how to
use this menu). The Edit Key panel appears.
Figure 3.98: The Edit Key Panel
The Edit Key panel is a floating window, so you can drag it where you want it on
the screen.
Here’s how to use the Edit Key panel:
Delete Event
Deletes the selected keyframe. However, because
each audio track must have a beginning and ending
keyframe, you cannot delete these keyframes.
Linear
The default mode, this makes the transition from
one keyframe to the next a straight line.
Figure 3.99: Keyframes Set to Linear
This means the audio level changes at a constant
rate from one keyframe to the next.
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Cubic
Makes the transition from one keyframe to the next
a curved line.
Figure 3.100: Keyframes Set to Cubic
This “rounds out” the transitions between
keyframes by varying the rate at which the audio
level changes.
Hold
Maintains the value of the previous keyframe until
the next keyframe.
Figure 3.101: Keyframes Set to Hold
This means the audio level jumps from the setting
of one keyframe to the setting of the next.
Decibel Slider
Adjusts the decibel level of the selected keyframe. 0
dB represents an unchanged audio level. The
settings in the Level track act as an attenuator, and
every -6dB halves the audio level (-6 dB is half the
original level, -12 dB is a quarter, -18 dB is an
eighth, etc.)
TIP: To turn the volume Off at the selected
keyframe, drag the slider all the way to the left. This
may be easier than dragging the keyframe to the
bottom of the track on the timeline.
Event Value
Displays the decibel level of the selected keyframe.
To set this level precisely, click on this box and type
in a number.
0 dB represents an unchanged audio level. The
settings in the Level track act as an attenuator, and
every -6dB halves the audio level (-6 dB is half the
original level, -12dB is a quarter, -18 dB is an eighth,
etc.)
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Time Slider
and Timecode
Animate Level
Pop-Up Menu
The timecode of the location of the keyframe on the
timeline is displayed in the timecode box. It can be
adjusted with the slider, or by typing a number into
the box and pressing Enter on your keyboard. You
cannot, however, move the beginning and ending
keyframes with this, as they must match the length
of the audio clip.
The Animate Level pop-up menu has options that let you add keyframes to the
audio level tracks or automatically create dips or fade ins and outs. To access this
menu, right-click on a keyframe in the audio level tracks. A pop-up menu appears
that is similar to the Audio Tracks pop-up menu, except it has options on the
bottom of the list for adjusting the audio levels (Figure 3.102).
Figure 3.102: The Animate Level Pop-Up Menu
The Animate Level pop-up menu works the same as the Audio Tracks pop-up
menu (“Keyframe Menu” on page 101). You can also right-click on an audio event
or an audio level track to access a slightly different Animate Level pop-up menu.
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Mixing Audio
In addition to adjusting the level of audio tracks on the timeline, with
GlobeCaster’s optional audio system you can mix your audio sources. The
GlobeCaster Editor’s audio controls are designed for post-production work, while
the GlobeCaster Switcher’s Audio Mixer is designed for live audio mixing. Some
audio controls in the GlobeCaster Editor appear on the toolbar. Other adjustments
can be made in the Tape Audio Properties panel, the Clip Audio Properties panel
and the Equalizer panel for each channel.
Audio Controls
The Audio Monitor Controls on the toolbar are to the right of the Editing Controls.
These controls adjust the monitor audio only, and do not affect the program out
audio.
Figure 3.103: The Audio Monitor Controls
Here’s what these controls do:
Tape Audio
Properties
Panel
Monitor Slider
Controls the volume on the monitor outputs.
VU Meter
Mimics an LED level readout.
Mute Button
Turns off the volume for the monitors.
The Tape Audio Properties panel allows you to adjust your audio sources for a
tape. The settings you adjust are applied to all clips from that tape, unless you set
properties for individual clips in the Clip Audio Properties panel (see “Clip Audio
Properties” on page 164 for information on how to use this panel).
Be sure to set the audio properties before you log clips. Changing the properties
does not affect clips that have already been logged.
To access the Tape Audio Properties panel, do the following:
1.
Click on the Tape Name button in the Main Controls in the toolbar
(Figure 3.104).
Figure 3.104: The Tape Name Button
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2.
Choose Tape Properties from the pop-up menu.
The Tape Properties panel appears in the upper left of your screen
(Figure 3.105).
Figure 3.105: The Tape Properties Panel
3.
Click on the Audio Properties button.
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The Tape Audio Properties panel appears (Figure 3.106).
Figure 3.106: The Tape Audio Properties Panel
Here’s how to use the panel:
Use Source
These buttons, A1, A2, A3, and A4, select which
source channel is used. They can be mixed to record
channels. Turn off all these buttons if you want to
use video only from a tape. With these buttons off,
all clips are added to the timeline without audio
tracks.
Trim
A master gain control for the input. It is used to
calibrate the input using reference tone levels.
Send Left
Controls the level of the left channel. Used in
conjunction with external audio processing systems.
Send Right
Controls the level of the right channel. Used in
conjunction with external audio processing systems.
EQ
Opens the Equalizer panel (see “Equalizer Panel”
on page 165 for information on how to use this
panel) for the channel.
Mute
No function for this panel.
Pan
Controls the left-right output of the audio track.
Level
Controls the actual level of the audio.
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Animate
Clip Audio
Properties
No function for this panel.
The Clip Audio Properties panel allows you to adjust your audio sources for
individual clips. To set audio properties for all clips from a tape, use the Tape
Audio Properties Panel (see “Tape Audio Properties Panel” on page 161 for
information on how to use this panel).
To access it, click on the Clip Props button in the Clip Controls on the left end of
the toolbar. Or, right-click either in a Level track or on an audio clip in an Audio
track and choose Properties from the pop-up menu. All three of these actions
bring up the Clip Main Properties panel (see “Clip Main Properties Panel” on
page 75). On this panel, click on the panel button in the upper left corner that says
Clip Main Properties, and choose Clip Audio Properties from the pop-up menu.
Panel
Button
Figure 3.107: The Clip Audio Properties Panel
Here’s how to use the panel:
Use Source
These buttons, A1, A2, A3, and A4, select which
source channel is played. They can be mixed to
record channels. Turning these buttons on or off
also turns them on or off on the Clip Main
Properties panel, and vice versa. (See “Clip Main
Properties Panel” on page 75 for information on this
panel.)
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Trim
165
A master gain control for the input. It is used to
calibrate the input using reference tone levels.
If you look at a digitized clip’s properties, you will
see an additonal label in this area to indicate that the
trim knobs only work when redigitizing the clip.
Figure 3.108: Trim Knobs For Digitized Clips
The trim knobs have no effect during clip playback.
Send Left
Controls the level of the left channel. Used in
conjunction with external audio processing systems.
Send Right
Controls the level of the right channel. Used in
conjunction with external audio processing systems.
EQ
Opens the Equalizer panel (see following section)
for the channel.
Mute
Mutes the input.
Pan
Controls the left-right output of the audio track.
Level
Controls the actual level of the audio.
Animate
Allows the level of the audio track to be controlled
in the timeline. Turn this on by clicking on the
button. A Level track appears below each Audio
track on the timeline. In this track you can add
keyframes and adjust their positions, creating dips
and fade ins or outs (see “Animating Audio On The
Timeline” on page 155 for information on how to do
this).
If this light is not on, the levels set in the Levels
track on the timeline for that channel are ignored.
This means you can experiment with the levels, and
you can turn off Animate without losing your track
changes.
Equalizer Panel
The Equalizer panel for each channel controls a three-band parametric equalizer.
To access it to adjust settings for all clips from a tape (from the Tape Properties
panel), do the following:
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1.
Click on the Tape Name button in the Main Controls in the toolbar
(Figure 3.109).
Figure 3.109: The Tape Name Button
2.
Choose Tape Properties from the pop-up menu.
The Tape Properties panel appears in the upper left of your screen
(Figure 3.110).
Figure 3.110: The Tape Properties Panel
3.
Click on the Audio Properties button.
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The Tape Audio Properties panel appears (Figure 3.111).
Figure 3.111: The Tape Audio Properties Panel
4.
Click on the EQ button for the desired channel.
The Equalizer panel appears.
You can also access the Equalizer panel to adjust settings for a single clip (from the
Clip Audio Properties panel). To do this, click on the Clip Props button in the
Clip Controls on the left end of the toolbar. Or, right-click either in a Level track or
on an audio clip in an Audio track and choose Properties from the pop-up menu.
All three of these actions bring up the Clip Main Properties panel (see “Clip Main
Properties Panel” on page 75 for details on this panel). On this panel, click on the
panel button in the upper left corner that says Clip Main Properties and choose
Clip Audio Properties from the pop-up menu. The Clip Audio Properties panel
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appears. Click on the EQ button for the desired channel to open the Equalizer
panel. It appears in the upper right corner of the screen.
Figure 3.112: The Equalizer Panel
Changes you make are applied to the selected channel when you close this panel.
Here’s how to use the panel:
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High/Mid/Low
Determines the settings for each range of the
equalizer. Clicking on the button under these words
brings up a pop-up menu with the options Flat,
Notch, Peak, High Shelf (for the High range), and
Low Shelf (for the Low range).
Flat doesn’t make any modification to the sound.
This is the default setting.
Notch cuts (lowers) the selected frequency (-14dB)
at the selected Q (.26-5.00).
Peak boosts (raises) or cuts (lowers) the selected
frequency (+/-14dB) at the selected Q (.26-5.00).
High Shelf and Low Shelf set an upper or lower
limit to the frequencies passed through the mixer.
The setting you choose here determines which, if
any, slider frequencies on the right side of the panel
can be adjusted. If you select Flat, for example,
none of the sliders can be adjusted. If you select
Notch, you can adjust Freq and Q. If you select
Peak, you can adjust Gain, Freq, and Q. And if you
select High Shelf or Low Shelf, you can adjust
Gain, Freq, and Slope, which replaces Q.
Gain
Sets the amount of EQ boost or cut to the
frequencies in the selected range.
Freq
(Frequency)
Sets the center frequency that the setting is applied
to. This frequency is at the top of the Peak or at the
bottom of the Notch, or set at the High Shelf or
Low Shelf level.
Q
Sets the bandwidth of the EQ effect. In other words,
it determines the range of frequencies around the
selected frequency that are affected. A high value
causes a very sharp drop-off before or after the
selected frequency, and a low Q value causes the EQ
to affect a larger range of frequencies around the
selected frequency.
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Using Options And Applications Buttons
Located on the GlobeCaster Editor toolbar are buttons that allow you to control
the layout of the interface, access the vector scope/waveform monitor, access
settings panels, and close the GlobeCaster Editor and open other GlobeCaster
applications. The following sections explain the functions of these buttons.
Options
Buttons
The Options buttons are the gray buttons on the right side of the toolbar.
Figure 3.113: The Options Buttons
Here’s what the Options buttons do:
Vector Scope
Top Bins
Toggles on and off the display of bins you have open
at the top of the screen. When you open extra
monitors, they replace the display of these bins. To
see the bins again, click on Top Bins.
Btm (Bottom)
Bins
Toggles on and off the display of bins you have open
at the bottom of the screen. When you click on this
button, the timeline shrinks and a bin appears on
each side of it. Click this button again to close the
bins and expand the timeline.
Scope
Opens the vector scope/waveform monitor, if you
have the ClipGrab card. See the following section
for information on how to operate it.
Options
Opens the Editor Options panel, where you can set
properties for working with timelines. See “Editor
Options Panel” on page 93 for information on how
to use this panel.
Configure
Brings up a pop-up list of the configure panels:
Digitize Settings (if Time Machine is installed),
Installed Cards, Keyer Settings, Color Correction,
ProColor Correction, GPI Settings, Serial Devices,
Input Sources, Input Settings, Output Settings, and
Global Settings. VTRs are configured in the Serial
Devices configure panel. For a comprehensive
explanation of these panels, see the “Using
Configure Panels” chapter in the GlobeCaster User
Guide.
The vector scope/waveform monitor analyzes details of the internal signal
waveforms. It is available if you have a ClipGrab card installed.
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The GlobeCaster vector scope/waveform monitor is useful for analyzing picture
content information, such as color correction, setup level, and peak signal levels,
but not timing information. Because the internal signals in GlobeCaster are digital,
there is no viewable timing data for the vector scope/waveform monitor to display.
To access the scope, click on the Scope button in the gray Options Buttons on the
toolbar. The vector scope appears (Figure 3.114).
Figure 3.114: The Vector Scope
The scope can also be accessed from the GlobeCaster Switcher by clicking on the
Outputs button above the Program monitor and choosing Scope from the pop-up
menu. When accessed from the GlobeCaster Switcher, the layout of the scope is
slightly different than when accessed from the GlobeCaster Editor, but they
function the same way.
To turn the scope on, click the Run button on the left side of the scope. When this
button is on, the scope updates as the video plays. If this button is not on, the
scope displays color information from a frozen frame. This can be useful if you
want to look at the information from a particular section of video. To do this, click
the Run button off at the desired point, and it freezes the scope output.
When viewing the scope, the letters stand for the following colors:
R
Red
Mg
Magenta
B
Blue
Cy
Cyan
G
Green
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Yl
Yellow
Colors show up on the scope as illuminated areas in a position on the display that
is proportional to their color. The distance of the illuminated area from the center
of the scope is proportional to the saturation, and the position in the arc of the
circle (at which degree it shows up) is proportional to the hue. White and black
both show up as dots in the center of the scope.
To close the scope, click on the Scope button in the Options buttons on the
toolbar.
Here’s how to use the options on the scope:
Program (Source
Button)
Selects the source of the video to be analyzed.
Click on the button and select the desired source
from the pop-up menu. The options are:
Program, Preview, Input 1-Input 8. The default
is Program.
Run
Turns the scope on. Click this button if you want
the scope to update as video plays. If this button
is off, the scope analyzes a frozen frame.
Field 1, Field 2
Selects which video field of each frame, Field 1 or
Field 2, is analyzed. The button displays the field
currently selected. To switch to the other field,
click on the button. It toggles to the other field.
For more information on video fields, see “Field”
in the glossary of the GlobeCaster User Guide.
75% Gain
Allows PAL users to adjust 100% color values to
75% color values.
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Vector Scope
Click this button to choose from the following
types of scopes: Vector Scope, Y Waveform, Cb
Waveform, Cr Waveform, or Parade. The
default is Vector Scope.
Vector Scope: Analyzes color information.
Figure 3.115: The Vector Scope, Analyzing Color Bars
With the color bars loaded, the dots line up into
boxes. The dots are sharp points, indicating the
source is a sharp signal. For the color bars, hazy,
scattered dots indicate the signal has a lot of
noise. For other images, which don’t have only
pure colors as the color bars do, a pattern of
scattered dots is normal.
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Y Waveform: Analyzes levels of brightness.
255
235
(White)
16 (Black)
Super
Black
0
Figure 3.116: The Y Waveform Monitor,
Analyzing Color Bars
The horizontal axis of the display represents the
position of the signal on the screen from left to
right.
The vertical axis represents luminance values
from 0 (bottom) to 255 (top).The top line
represents a digital value of 235 (which
corresponds to about 100 IRE for NTSC), and
represents the whites in the picture. The bottom
line represents a digital value of 16 (which
corresponds to about 7.5 IRE for NTSC), and
represents the blacks in the picture. Anything
below this line is considered super black.
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Cb Waveform: Measures the relative blueness of
the picture.
255
240
Toward
Blue
128
No Blue
Toward
Yellow
16
0
Figure 3.117: The Cb Waveform Monitor,
Analyzing Color Bars
The line in the center is a value of 128, which
represents zero color (no blue). Dots above the
line represent blues in the picture. Dots below
the line represent yellows.
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Cr Waveform: Measures the relative redness of
the picture.
255
240
Toward
Red
No Red
128
Toward
Cyan
16
0
Figure 3.118: The Cr Waveform Monitor,
Analyzing Color Bars
The line in the center is a value of 128, which
represents zero color (no red). Dots above the
line represent reds in the picture. Dots below the
line represent cyans.
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Parade: Displays the Y Waveform, Cb Waveform,
and Cr Waveform monitors in the same panel,
from left to right.
Figure 3.119: The Vector Scope/Waveform Monitor
Applications
Buttons
Start Line
Sets the horizontal line of the picture at which
the scope begins analyzing color information.
The top of the screen is line 0, and the bottom is
line 243 for NTSC, 288 for PAL.
# of Lines
Sets the size of the vertical band that the scope
analyzes. The entire screen is 243 lines for NTSC,
288 for PAL.
All Lines
Resets Start Line to 0 and # of Lines to 243 for
NTSC, 288 for PAL, so that all lines of the picture
are analyzed.
Brightness
Adjusts the brightness of the picture information
the scope displays.
Graticule
Adjusts the brightness of the scope overlay.
The Applications buttons are the tan buttons on the right end of the toolbar.
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Refe ren ce
178
Chapter 3
TIP: Clicking on the
Shift button and one
of the Applications buttons opens
the application without closing the GlobeCaster Editor.
Figure 3.120: The Applications Buttons
Here’s what the Applications buttons do:
_, ?, X
These work as they do in other Windows
applications: _ minimizes the GlobeCaster Editor, ?
opens a help window, and X closes the GlobeCaster
Editor.
Switcher
Changes to the GlobeCaster Switcher control panel.
The GlobeCaster Switcher and the GlobeCaster
Editor programs are really two heads of the same
application, so you can switch freely between them
without losing information on the timeline. The
Scroll Lock button is a keyboard shortcut to do this.
Animator/
Compositor
Exits GlobeCaster Editor; you are prompted to save
any work on the timeline. Opens the GlobeCaster
Animator/Compositor interface.
Character
Generator
Exits GlobeCaster Editor; you are prompted to save
any work on the timeline. Opens the GlobeCaster
Character Generator interface.
Effects
Generator
Exits GlobeCaster Editor; you are prompted to save
any work on the timeline. Opens the GlobeCaster
Effects Generator interface.
GLOBECASTER EDITOR MANUAL
TUTORIALS
CHAPTER 4
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Chapter 4
Tutorials
This chapter introduces you to the basics of working in GlobeCaster’s Editor, doing
both linear and non-linear editing (if Time Machine is installed). Keep in mind that the
buttons, panel settings, and pop-up menu options are explained in the previous chapter.
If you need further explanation of one of these, please refer to Chapter 3. Rather than
explaining system functions, this chapter focuses on giving you step-by-step
instructions on how to put those functions together to accomplish basic editing tasks.
The following topics are covered:
•
Linear editing............................................................................... 182
•
Non-linear editing with Time Machine ....................................... 212
•
Using advanced editing modes .................................................... 256
•
Sync Roll Editing ......................................................................... 279
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Chapter 4
Linear Editing
This tutorial introduces you to the basics of linear editing in GlobeCaster’s Editor.
You will learn how to set up your decks and tapes for editing, log clips, work with
timelines, and use some of the GlobeCaster Editor’s special functions.
The following topics are covered:
•
Setting up decks and tapes for editing
•
Striping a tape
•
Logging clips
•
Setting clip properties
•
Building a timeline
•
Appending a timeline
•
Creating A/V and A/X edits
•
Setting the record deck in-point
•
Getting your timeline to tape
Setting Up
Decks And
Tapes
Before you start editing the first time, you need to set up your decks and tapes. You
need to assign your decks as record and source decks, and name your tapes. Once
you have assigned your decks, the GlobeCaster Editor remembers this for future
editing sessions.
TIP: Once you get
the layout set up the
way you want, with
the appropriate number of monitors and
the bins you need,
you can save the layout. Do this by rightclicking in an empty
space in a bin and
choosing Save
Layout from the
pop-up menu. A
picon representing the
layout appears in the
bin.
Tapes need to be named for new projects as each new tape is inserted in a deck. For
existing projects, the list of tapes for the project is automatically loaded when you
load the timeline. You just need to tell each source which tape is currently in its
deck.
When you open the GlobeCaster Editor for the first time, you see the default
layout with a bin in each of the upper corners, two monitors in between the bins, a
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toolbar across the middle of the screen, and the timeline at the bottom
(Figure 4.1).
Figure 4.1: The Default GlobeCaster Editor Layout
The right monitor is the output monitor and can be set for either Timeline,
Recorder, or Off. The left monitor displays the input source you select. Below
each monitor is a set of controls.
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Chapter 4
Assigning
Source Decks
The first thing you’ll do is assign your source decks. Here’s how:
1.
Below the left monitor, right-click on the Source Type button, the upper left
button.
Source
Type
Button
Figure 4.2: The Source Type Button Under the Left Monitor
2.
Choose Source A from the pop-up menu.
3.
In the Main Controls in the middle of the toolbar (blue buttons), right-click
on the Source button (Figure 4.3).
Source
Button
Figure 4.3: The Source Button in the Main Controls
You see a pop-up menu listing your decks (Figure 4.4).
Figure 4.4: The Source Button Pop-Up Menu
In order for your decks to appear on this list, you must have configured them
on the Serial Devices panel. For information on how to do this, see the “Using
Configure Panel” chapter in the GlobeCaster User Guide.
4.
Select the deck you want to assign as Source A.
5.
If you have additional source decks, repeat these steps, except choose Source
B or Source C in step 2.
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Now your source decks have been assigned, and you can choose the deck you want
by right-clicking on the Source Type button (following figure) below the left
monitor and choosing Source A, Source B, or Source C from the pop-up menu.
Source
Type
Button
Figure 4.5: The Source Type Button
The deck assignments you have made as Source A, Source B, and Source C are
saved until you change them.
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Chapter 4
Assigning A
Record Deck
Next you’ll assign your record deck. Here’s how:
1.
Right-click on the Recorder button in the Main Controls.
Recorder
Button
Figure 4.6: The Recorder Button in the Main Controls
2.
From the pop-up menu, select the deck you want to use as your record deck
for this project.
In order for your deck to appear on the pop-up menu, it must be configured as
a record deck in the Serial Devices panel. For information on how to do this,
see the “Using Configure Panel” chapter in the GlobeCaster User Guide.
That’s it. Your record deck is set.
Naming Tapes
Next you’ll tell the GlobeCaster Editor which tapes you are using. It is important
to label each of your source and record tapes with a name and to tell the
GlobeCaster Editor these names. That way, it can keep track of which tape each
clip comes from. If you come back to a project later, for example, and want to use
material from a timeline you have already made, the GlobeCaster Editor tells you
which tapes to insert to re-create the timeline.
Here’s how to name your tapes in the GlobeCaster Editor:
1.
Place the tape in the appropriate source or record deck.
2.
Click on the Tape Name button, below the Source button (Figure 4.7). The
text on this button changes depending on the selected source. In this case, for
an unnamed tape, it should say Reel #.
Tape
Name
Button
Figure 4.7: The Tape Name Button
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A pop-up menu appears.
Figure 4.8: Tape Name Pop-Up Menu
3.
Select New Tape from the pop-up menu.
This assigns a default name to the tape. The default name for source tapes is
Reel # and the default name for record tapes is Record #. This name now
appears on the Tape Name button.
4.
To assign a specific name to the tape, click on the Tape Name button again.
5.
Select Tape Properties from the pop-up menu.
This opens the Tape Properties panel in the upper left corner of the screen
(Figure 4.9).
Figure 4.9: The Tape Properties Panel
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Chapter 4
6.
In the first field, above Tape Name, type in the name of the tape (Figure 4.10)
and press Enter on your keyboard.
Figure 4.10: Typing in a New Tape Name
7.
Close the panel by clicking on the X in the upper right corner.
The name of the tape now appears on the Tape Name pop-up menu
(Figure 4.11), and on the face of the Tape Name button.
DemoTape
on the
Pop-Up
Menu
Figure 4.11: The New Name on the Tape Name Pop-Up Menu
8.
Repeat this process until you have named all your tapes for the project in the
GlobeCaster Editor, or whenever you add another tape in the midst of a
project.
Now all your tapes appear on the Tape Name pop-up menu.
Each time you swap tapes (unless prompted to do so by the GlobeCaster Editor),
let the GlobeCaster Editor know which tape you have inserted by clicking on the
Tape Name button and selecting the tape from the pop-up menu.
To remove tape names from the pop-up menu, you can click on the Remove
Unused Tapes button in the Editor Options panel (see “Editor Options Panel” on
page 93 for information on this panel). This removes the names of tapes that are
not associated with clips on the current timeline.
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Striping A Tape
189
In order to edit with GlobeCaster, your record tapes must use be striped (black
with timecode). This ensures that there is continuous timecode from start to finish.
When GlobeCaster edits, it performs insert edits, which use the existing timecode
on the record tape as reference points for where to make the edits. It does not
record over this timecode as it edits; the timecode remains intact.
Because of this, if you are restriping a previously used tape, we recommend you
rewind the tape to the beginning and restripe the entire tape. Avoid striping only a
portion of a previously striped tape.
TIP: To toggle
between the GlobeCaster Editor and the
GlobeCaster Switcher
programs, press the
Scroll Lock key
on your keyboard.
If you try to edit onto a tape that is not striped, your record deck fast forwards and
rewinds back and forth until you click All Stop. The GlobeCaster Editor is telling
the deck to go to a specific timecode, and the deck is searching in vain for this
timecode.
You can stripe a tape using the VTR Transport/Sync Roll/Live Digitize panel in
the GlobeCaster Switcher.
To stripe a tape, do the following:
1.
Check your deck for a switch that can be set to Preset or Regen. If your deck
has this switch, set it to Preset.
Your deck uses its preset timecode number, such as 01:00:00:00, as the
beginning timecode number.
TIP: During editing
you want to reset this
switch to Regen.
2.
Open the GlobeCaster Switcher and click on the Fade button in the group of
buttons to the right of the T-bar (Figure 4.12).
Figure 4.12: The Fade Button
This fades the Program out to black, and provides a consistent, dark black for
striping tapes. (The on-screen monitor is not affected by the Fade button, but
you see black on your external monitor.)
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Chapter 4
3.
Click on the Panels button (Figure 4.13) and choose VTR Transport from the
pop-up menu.
Panels
Button
Figure 4.13: The Panels Button
The VTR Transport/Sync Roll/Live Digitize panel appears in the upper right
corner of the screen (Figure 4.14).
Figure 4.14: The VTR Transport Panel
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4.
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Click on the button that lists your record deck to turn it on (the button turns
yellow).
Figure 4.15: Selecting the Record Deck
5.
Click on the record button, the one with the red dot (Figure 4.16).
Record
Button
Figure 4.16: The Record Button
6.
If you see a warning message asking whether you want to erase existing
timecode, click Yes.
Your tape is striping. Let it run for the length of the tape, or for as long as you
need for the project you plan to record to the tape.
7.
When your tape is striped, click the stop button (Figure 4.17).
Stop
Button
Figure 4.17: The Stop Button
TIP: To toggle
between the GlobeCaster Switcher and
the GlobeCaster Editor programs, press
the Scroll Lock
key on your keyboard.
Now that your tape is striped, you are ready to record to it. If your record deck
has a Preset/Regen switch, change it back to Regen.
At this point your decks and tapes are squared away, and you’re ready to start
logging clips in the GlobeCaster Editor.
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Chapter 4
Logging Clips
Now that your decks are assigned, you’re ready to log clips. In order for the
GlobeCaster Editor to know which portions of your tapes you want to use, you
must designate the in points and out points of the clips. To log clips in the
GlobeCaster Editor, do the following:
1.
Under the left monitor, right-click on the Source Type button to select your
source deck (Source A, B, or C).
Source
Type
Button
Figure 4.18: The Source Type Button Under the Left Monitor
Clicking on the Source Type button under the left monitor also turns on the
Source button in the Main Controls on the toolbar (Figure 4.19).
Source
Button
Figure 4.19: The Source Button in the Main Controls
Once this button is on, you can use the transport controls under the left
monitor to control the selected source deck. If you find that the transport
controls under the left monitor are not functioning at some point during your
session logging clips, make sure that this Source button is on.
2.
Using the Tape Name button in the Main Controls, select the name of the tape
you are using.
Tape
Name
Figure 4.20: Choosing the Tape Name
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TIP: To mark clips,
you can type in the
timecode in the in
point and out point
timecode fields (previous figure), then
click the Mark In
and Mark Out buttons. If you want the
first frame of the clip
to be the picon for the
clip, be sure to cue the
deck to the first frame
before clicking the
Mark In button. To
cue the deck to the
place where you want
to begin logging clips,
you can type in the
desired timecode in
the current position
timecode field (previous figure), then press
Enter on your keyboard. The deck cues
to that frame.
193
3.
Use the transport controls or shuttle slider under the left monitor to cue your
tape up to your first in point.
4.
When you find the place you want the clip to begin, click the Mark In button
(or press m on the keyboard).
Current Position
Timecode Field
In Point
Timecode Field
Mark In
Button
Out Point
Timecode Field
Mark Out
Button
Figure 4.21: The Mark In and Mark Out Buttons
Once you begin creating a clip by clicking the Mark In button, you see a
picon for the clip in the Clip picon window on the left side of the toolbar.
Clip
Picon
Figure 4.22: The Clip Picon
5.
Continue playing the tape or shuttle it to the place where you want the clip to
end, and click the Mark Out button (or press the comma on the keyboard).
6.
Drag-and-drop the Clip picon into an appropriate bin to save the clip, or drag
the Clip picon onto the timeline for immediate use.
7.
Repeat the steps above, clicking on the Mark In and Mark Out buttons and
saving your clips.
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Chapter 4
Using
Automated
Features
The GlobeCaster Editor also has functions that make logging clips easier. Splice,
Auto Splice, Auto 3 Point, Overwrite, and Auto Save help you place your logged
clips where you want them. The buttons for these functions are under the output
(right) monitor. (Auto Batch is for non-linear editing. See “Using AutoBatch” on
page 218 for a tutorial on this function.)
Splice
To place a logged clip on the timeline, click the Splice button under the output
(right) monitor (Figure 4.23), or press j on your keyboard.
Splice
Button
Figure 4.23: The Splice Button
The clip appears in the timeline, with the Position Bar at the last frame, ready
to splice the next clip.
Figure 4.24: The Spliced Clip on the Timeline
AutoSplice
If you are logging a series of clips that you want on a timeline, turning the Auto
Splice function on automatically places clips on the timeline as you mark them.
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Click on the AutoSplice button under the output (right) monitor (Figure 4.25) to
turn it on.
AutoSplice
Button
Figure 4.25: The AutoSplice Button
As you mark your clips they appear on the timeline at the location of the Position
Bar.
Auto 3 Point
The Auto 3 Point feature is designed for three-point editing. The Auto3Pnt button
is located under the output (right) monitor (Figure 4.26).
Auto3Pnt
Button
Figure 4.26: The Auto3Pnt Button
Three-point editing means that once you define three of the four timecode points
relating to the clip (in and out point on the source tape, and in and out point on
the timeline), the GlobeCaster Editor automatically places the clip on the timeline.
The GlobeCaster Editor always calculates the fourth point, but when Auto 3 Point
is on it automatically places the clip on the timeline after you mark the third point.
For example, you can mark the in and out points of your clip, and then mark the
in point on the timeline where you want it to start. Since the GlobeCaster Editor
already knows the duration, it calculates the out point on the timeline and places
the clip in the correct spot. Or, you can mark the in and out points on the timeline
where you want the clip to go, and then mark the in or out point of the clip. Since
the GlobeCaster Editor knows the duration from the timeline timecode, it
calculates the other point for the clip and places it on the timeline.
Overwrite
The Overwrite function splices in a newly created clip at the Position Bar, but
instead of moving existing clips down the timeline, it overwrites what was after the
Position Bar for the duration of the clip being added.
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Chapter 4
The Overwrite button is under the output (right) monitor (Figure 4.27).
Overwrite
Button
Figure 4.27: The Overwrite Button
AutoSave
If you are saving a number of clips to the same folder, using AutoSave spares you
the step of manually saving your clips. You tell the GlobeCaster Editor the path to
the bin, and then every time you define a clip (mark its in point and out point) it is
automatically saved to the bin. You can use this in conjunction with the other
buttons to save clips to a bin at the same time you create a timeline.
Here’s how to use AutoSave:
1.
Click on the Configure button on the right side of the toolbar (Figure 4.28).
Configure
Button
Figure 4.28: The Configure Button
2.
Select Global Settings from the pop-up menu.
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The Global Settings panel appears (Figure 4.29). This is where you set the
default path for files to be saved.
Figure 4.29: The Global Settings Panel
3.
NOTE: Be sure to
end path names in the
Global Settings
panel with a backslash (\). Phrases after
the last backslash are
used as prefixes for
file names. For example, if the Clips path
name is set to
In the Clips field, type in the path for your project bin.
For a full explanation of the Global Settings panel, see the “Using Configure
Panels” chapter in the GlobeCaster User Guide.
4.
Close the Global Settings panel by clicking on the X in the upper right corner
of the panel.
5.
Click on the AutoSave button at the bottom of the right monitor controls to
turn it on.
D:\GlobeCaster
2B\bins\clips
(with no final backslash), the default bin
for clips is
D:\GlobeCaster
2B\bins, and clips
saved here are named
clips# (numbers are
assigned automatically).
AutoSave
Button
Figure 4.30: The AutoSave Button
AutoSave is now on, and each time you define a clip (mark both an in and an out
point) it is automatically saved to the specified bin. Be sure to click the New Clip
button under the right monitor between marking each clip.
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Chapter 4
Setting Clip
Properties
By using the Clip Main Properties and Clip Audio Properties panels, you can set
properties of individual clips. The properties you set in these panels apply only to
clips you have selected. Select a clip by clicking on it in the timeline.
In the Clip Main Properties panel, you can choose which audio or video channels
are recorded, set audio tracks so they can be trimmed independently of their video
tracks, or access the Color Correction panel. To access the Clip Main Properties
panel, click on the Clip Props button in the Clip Controls on the toolbar, or rightclick on a clip on the timeline or the current clip picon and choose Properties
from the pop-up menu. For a complete explanation of this panel, see “Clip Main
Properties Panel” on page 75.
In the Clip Audio Properties panel, you can change the audio levels or open the
Equalizer Panel. To access it, click on the Clip Props button in the Clip Controls
on the left end of the toolbar. Or, right-click either in a Level track or on an audio
clip in an Audio track and choose Properties from the pop-up menu. All three of
these actions bring up the Clip Main Properties panel. On this panel, click on the
panel button in the upper left corner that says Clip Main Properties, and choose
Clip Audio Properties from the pop-up menu. For a complete explanation of this
panel, see “Equalizer Panel” on page 165.
Building A
Timeline
Once you’ve logged your clips, you’re ready to put them together, along with any
graphics or effects you’ve created in GlobeCaster’s other applications. The
GlobeCaster Editor timeline is where you put all the pieces together.
Setting the Recorder’s In Point
When you build a timeline, it’s a good idea to start by setting the recorder’s in
point. This tells the GlobeCaster Editor where you wish to begin recording on your
record tape. By doing this when you begin building a timeline, you can use the
Preview function to check sections of the timeline as you go.
NOTE: Preview
functions the same as
Perform, which
records portions of
the timeline to tape,
except Preview does
not enable the insert
mode on the record
deck. So, in order to
use Preview, you must
have a striped tape in
your record deck and
have set the in point
on the record tape.
To set the recorder’s in point, do the following:
1.
Click on the Options button on the toolbar (Figure 4.31).
Options
Button
Figure 4.31: The Options Button
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The Editor Options panel appears in the upper left corner of the screen
(Figure 4.32).
Figure 4.32: The Editor Options Panel
2.
You can set the in point for the record tape two ways. Do one of the following:
a.
If you know the timecode where you want the record tape to start, type
the timecode in the Timeline starts field and press Enter on your
keyboard.
b.
Using the transport controls, cue up your record tape to the point where
you want your timeline to begin. Then, click on the Mark button to the
right of the Timeline starts field (Figure 4.33).
Mark
Button
Figure 4.33: The Mark Button
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Chapter 4
The Timeline starts field now displays the current timecode on your record
tape. When you Assemble the timeline, it begins recording at this point on the
record tape.
Adding Clips to the Timeline
Now that you set the recorder’s in point, you are ready to place events on the
timeline.
NOTE: This part of
the tutorial requires
two source decks so
you can transition
between clips. If you
have only one source
deck, you can substitute framestores for
clips on one of the
video tracks.
Here’s how to add clips to a timeline:
1.
Drag-and-drop a clip from one of your bins onto the timeline.
The clip appears on the timeline as a colored bar with the clip’s picon in the
middle of it.
Trimming
Handle
Figure 4.34: The First Clip on the Timeline
The colored bar represents the length of the clip. You can change the duration
of the clip (and also its in and out points on the source tape) by dragging left
or right on the trimming handles on the end of the clip. You can move the clip
by clicking on it anywhere except the trimming handles and dragging.
2.
Double-click on a clip picon from a different tape in your bins. If you have
only one source deck, use a framestore instead of a clip.
The clip automatically appears at the end of the timeline.
3.
Click-and-drag the first clip all the way to the left end of the timeline.
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4.
201
Click-and-drag the second clip and place it on the second (Video 2) track of
the timeline so that the two clips overlap slightly (Figure 4.35).
Figure 4.35: Overlapping Clips on the Timeline
5.
Right-click on either clip in the overlapped area and choose Create Dissolve
from the pop-up menu.
This creates a dissolve between the two clips. It appears as a tan bar in the FX
track of the timeline (Figure 4.36).
Figure 4.36: Dissolve on the Timeline
The dissolve is the same length as the overlapped area of the clips. Like the clips,
its length can be adjusted by clicking-and-dragging on the trimming handles.
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Chapter 4
Previewing The
Timeline
You now have a timeline with a dissolve transition between two clips. If you want
to see the timeline play through, do the following:
1.
Make sure your source tapes are in your decks, your decks are assigned, and
your tapes are named. (If you have not yet done so, see the previous sections
of this tutorial for instructions on how to do this.)
2.
In the Main Controls, click on the Timeline button (Figure 4.37).
Timeline
Button
Figure 4.37: The Timeline Button in the Main Transport Control
This allows you to use the Main Controls to move through the timeline. This
also turns on the Timeline button under the right monitor, setting the right
monitor to display the timeline as the output.
3.
In the Main Controls, click the First Frame button (Figure 4.38).
First
Frame
Button
Figure 4.38: The First Frame Button in the Main Controls
This resets the timeline to play from the beginning.
NOTE: You must
select the events you
want to preview.
4.
Click on the clips and events you want to preview to select them (hold down
the Control key and click on events to select multiple ones), or right-click on
an event on the timeline and choose Select All from the pop-up menu.
5.
Still in the Main Controls, click the Preview button.
Preview
Button
Figure 4.39: The Preview Button in the Main Controls
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NOTE: In order to
use the Preview function, you must have a
striped tape in your
record deck and must
have set the in point
for the record tape. If
you have not done
this yet, see “Setting
the Recorder’s In
Point” on page 198.
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On the right on-screen monitor you see the GlobeCaster Editor play the clips
and dissolve between them.
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Chapter 4
Adding Effects
And DSK’s
You’ve just learned the basics of linear editing on the GlobeCaster Editor timeline.
If you’d like to experiment, try replacing the dissolve with some of the effects
provided with GlobeCaster.
To do this, drag-and-drop a picon from the GlobeCaster\Bins\FX\Sampler bin
onto the dissolve event. The effect picon appears on the transition event.
Figure 4.40: An Effects Picon on the Timeline
Some effects, such as the one in the previous figure, are fixed-length effects, in
which case you need to adjust the length of the transition (the overlap area of the
clips) to fit the effect. Other effects, such as wipes and dissolves, can vary in
length, and automatically load onto the timeline at the correct length to fit the
transition.
You can also try placing a downstream key on the timeline. The following DSK is
in the GlobeCaster\Bins\FX\Sampler bin. It is the picon with flames along the
bottom. The file name is _FlamAlf.tfx.
NOTE: If your
GlobeCaster is
equipped with an
additional DSK card,
you will see an additional track on the
timeline labeled
DSK2. Two additional DSK cards will
allow you to have two
additional tracks on
the timeline labeled,
DSK2 and DSK3.
These tracks function
and behave just like
the other tracks.
Figure 4.41: The Flames DSK Picon
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The downstream key event appears in a separate DSK track (Figure 4.42).
Figure 4.42: The Downstream Key on the Timeline
You can change the length of the DSK independently of the length of the video
clips.
Saving Your
Timeline
At this point, you may want to save the timeline you created. First, it is helpful to
name it. Here’s how:
1.
Right-click on the Timeline Picon (Figure 4.43) in the Timeline Controls.
Timeline Picon
Save Button
Figure 4.43: The Timeline Picon
2.
Choose Rename from the pop-up menu.
3.
Type in the name and press Enter on your keyboard.
The timeline is renamed. Now you are ready to save it. To do so, drag the Timeline
Picon into a bin. Or, click the Save button (previous figure) in the Timeline
Controls. The timeline is saved in the path designated in the Global Settings
panel. (For information on how to access the panel, see page 196.)
Appending A
Timeline
If you have a timeline loaded in the GlobeCaster Editor, you can append another
timeline to it. This feature is convenient if you are creating a lengthy project. To
speed the time it takes to navigate around the timeline, you can cut the project into
smaller sections, then paste all the timelines together when you’re ready to record
the project.
To append a timeline, do the following:
1.
Load the first timeline by double-clicking on its picon or dragging the picon to
the timeline.
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TIP: Be sure to
release the mouse button, wait for the
appended timeline to
appear, then release
the Control key.
2.
Click on the picon for the second timeline so that it is selected (yellow).
3.
Holding down the Control key on your keyboard, drag the picon for the
second timeline to the timeline area on the interface. When the Position Bar is
where you want the second timeline to begin, release the mouse button.
Watch for the appended timeline to appear before releasing the Control key.
Figure 4.44: Dragging the Second Timeline Picon to the Timeline
The second timeline appears, beginning where the Position Bar was located
when you released the mouse button.
Figure 4.45: The Second Timeline is Appended after the Position Bar
The timeline begins at the point where the Position Bar was when you released
the mouse button. You can place the Position Bar in the midst of the first
timeline. If you do this, the second timeline overwrites the remainder of the
first timeline.
Creating A/V
And A/X Edits
There may be times when you want to transition between two clips from the same
source tape. This is especially true if you are working with only one play deck.
GlobeCaster has two functions that allow you to do this with linear clips. One, the
A/X edit, uses a single frame for one of the clips during the transition. The other,
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the A/V edit, is unique to GlobeCaster. It uses a ClipMem, a short bit of digitized
video, during the transition. You do not need to have a Time Machine in order to
use the A/X or A/V edit. (If you do have a Time Machine, you do not need to use A/
V or A/X edits; you can digitize one or both clips instead.) See “Make A/X Edit” on
page 113 and “Make A/V Edit” on page 112 for more information on these types of
edits.
A/X Edit
To create an A/X edit, do the following:
1.
Click on the New button in the Timeline Controls (Figure 4.46).
New
Button
Figure 4.46: The New Button
This clears the timeline so you can build a new one.
2.
Place two clips from the same source tape on the timeline so that they overlap.
3.
Right-click in the overlap area of the clip you want to transition to and choose
Create Dissolve from the pop-up menu.
You now have two clips from the same tape and a dissolve between them on
the timeline (Figure 4.47).
Figure 4.47: Two Clips with Dissolve
If you wish to use a wipe instead of a simple dissolve, drag a wipe picon on top
of the dissolve on the timeline. (You do not need to create a dissolve first to
place an effect as a transition. You can drag-and-drop a wipe, or any effect, on
the overlapped area of the two clips and it appears in the FX track.)
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If you try to Preview this timeline at this point, you get an error message telling
you it is not possible to mix two clips from the same tape. To make that possible,
you will create the A/X edit.
4.
Right-click on the clip you want to “freeze” during the transition and choose
Make A/X Edit from the pop-up menu.
Your deck scrubs through the clip to obtain the correct frame for the freeze.
While it is doing this you see a loading bar going up and down in the Timeline
Picon, indicating that the GlobeCaster Editor is busy.
The GlobeCaster Editor selects the correct frame of the transition, and splits
the clip into a video clip leading up to the transition and a framestore lasting
the length of the transition (Figure 4.48).
Framestore
Figure 4.48: The A/X Edit on the Timeline
The framestore is saved in GlobeCaster\Bins\Stills\AX_stills in case you wish
to use it again.
5.
Click Assemble in the Timeline Controls.
The GlobeCaster Editor lays the first clip to your master record tape, and then
cues up the framestore and the second clip for the second pass.
When you play back your record tape, you see a seamless transition between
the two clips.
A/V Edit
Creating an A/V edit is similar, except neither clip is “frozen” during the transition.
Instead of using a framestore, the GlobeCaster Editor creates a ClipMem, a bit of
digitized video recorded to the RAM on the Warp Engine. By creating a ClipMem,
you are essentially transitioning between two video sources, and the resulting edit
is indistinguishable from a standard A/B roll edit. To create an A/V edit, do the
following:
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Click on the New button in the Timeline Controls (Figure 4.49).
New
Button
Figure 4.49: The New Button
This clears the timeline so you can build a new one.
2.
Place two clips from the same source tape on the timeline so that they overlap.
3.
Right-click in the overlap area of the clip you want to transition to and choose
Create Dissolve from the pop-up menu.
You now have two clips from the same tape and a dissolve between them on
the timeline.
Figure 4.50: Two Clips with Dissolve
If you wish to use a wipe instead of a simple dissolve, drag a wipe picon over
the dissolve on the timeline.
NOTE: Keep in
mind that the Warp
Engine is being used
as a video recording
and playback device,
so it cannot create
warp effects at the
same time. Wipe and
dissolve effects (with
or without graphics)
work great with a
ClipMem, but not
warping digital
effects. For these type
of effects, use the A/X
roll edit described
above.
If you try to Preview the timeline at this point, you get an error message
telling you it is not possible to mix two clips from the same tape. To make this
possible, you will create the A/V edit.
4.
Right-click on the clip you want to transition to (the clip you right-click on is
the one the GlobeCaster Editor makes a ClipMem of) and choose Make A/V
Edit from the pop-up menu.
Your deck scrubs through the clips so GlobeCaster can digitize the require
data.
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You see the overlapping section of one clip is separate from the rest of the clip
and is blue (Figure 4.51). This indicates it has been stored as a digitized clip in
system memory.
ClipMem
Figure 4.51: The A/V Edit on the Timeline
If the dissolve is longer than the maximum length for a ClipMem (this
depends on the amount of RAM on your Warp Engine), the GlobeCaster
Editor creates as many ClipMems as needed to cover the transition. The
ClipMems are saved in Bins\Clips\ClipMem.
5.
Click Assemble in the Main Controls (Figure 4.52).
Preview
Button
Figure 4.52: The Assemble Button
The GlobeCaster Editor loads the ClipMem file(s) into the Warp Engine and
records the transition in one pass and the other video clip in the next pass.
When you play back your record tape, you see a seamless transition between
the two clips.
At this point, you have learned how to log clips, build a timeline, and work with
some of GlobeCaster’s special effects. You are ready to record your timeline to tape.
The next section shows you how.
Getting Your
Timeline To
Tape
Once you have previewed your edits and have fine tuned your timeline, you are
ready to record the entire timeline to tape.
To record the timeline to tape, do the following:
1.
Click the Assemble button in the Main Controls in the toolbar (Figure 4.53).
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NOTE: If some
events have already
been recorded to the
master, only those
that have not been
recorded or have been
changed are recorded.
211
Assemble
Button
Figure 4.53: The Assemble Button
The entire timeline is recorded to tape.
TIP: If you want to
record everything to
the master, including
events that have
already been
recorded, you can
click the Reset
timeline for
assembly button in
the Editor
Options panel (see
“Editor Options
Panel” on page 93 for
information on this
panel). If you wish to
record only some
events or clips, click
on them to select
them and then click
Perform.
2.
Once you have recorded to tape, you can click on the events on the timeline to
select them, then click the Review button to view them and confirm they are
OK.
Review
Button
Figure 4.54: The Review Button
The Review function shows you the events you selected on the timeline.
That’s it, you now know the basics of linear editing with the GlobeCaster Editor.
This tutorial taught you how to assign your decks, stripe a tape, log clips, build a
timeline, and record your timeline to tape. More information on specific functions
can be found in Chapter 3, “Reference.” Other tutorials in this chapter address
different types of editing, such as editing to audio or L-cuts, as well as non-linear
editing.
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Non-Linear Editing With Time Machine
This tutorial is designed to assist you in non-linear editing with Time Machine.
The following topics are covered in this section:
•
Digitizing clips
•
Batch Digitizing
•
Looking at source deck vs. clip timecode
•
Logging clips from a digitized clip
•
Digitizing AVI and WAV files
•
Changing loop count and playback speed
•
Building a hybrid (linear/non-linear) timeline
Working with non-linear clips in the GlobeCaster Editor is similar to working with
linear clips. The GlobeCaster Editor is designed so that you don’t have to worry
about whether the clips you are using are linear or non-linear. You use the same
tools to edit both. In fact, the last section of this tutorial shows you how to work
with both on the same timeline, a hybrid timeline.
However, there are of course advantages to working with non-linear clips. The
greatest of these is increased speed. The GlobeCaster Editor with Time Machine
can instantly cue your clips to the timecode or Position Bar location you specify.
When you use the advanced editing modes, the on-screen monitors update
instantly as you edit. With non-linear clips, you can also change the playback
speed and direction. In general, digitizing your video and audio information gives
you greater speed, flexibility, and versatility when working in your timeline. This
tutorial shows you how to take advantage of some of these benefits.
If you need information on assigning your decks, naming tapes, and logging clips,
see the previous tutorial on linear editing. This tutorial assumes you have already
learned these skills, and that you have linear clips to work with.
Digitizing With
Time Machine
If you have Time Machine installed, there are several ways to digitize clips. You can
digitize clips on the timeline, or send clips to a queue to be digitized in a batch.
The Batch Digitize window allows you to adjust settings, such as compression
level, for individual or groups of clips.
You can also digitize your program out in the GlobeCaster Switcher by using the
VTR Transport/Sync Roll/Live Digitize panel. See the the GlobeCaster Switcher
Manual for information on how to do this.
NOTE: You can redigitize a clip that has
already been digitized. Doing this
allows you to change
the settings, such as
the compression
level.
Each digitized clip has a default of 1 second of trim room at the head and tail of the
clip. Digitized clips are saved on the Time Machine hard drives. You can also create
shortcut picons for Time Machine clips and save them in any bin by dragging the
clip picon into the bin.
Digitizing Clips
On The
Timeline
This section tells you how to digitize clips on the timeline:
You can digitize AVI and WAV files by dragging them onto the timeline, or by
adding them to the Batch Digitize list.
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Place five linear clips on the timeline.
Figure 4.55: Five Linear Clips on the Timeline
2.
Make sure that the original tape is in the source deck it was assigned to.
3.
Click on the first linear clip on the timeline to select it.
The clip is highlighted in yellow (Figure 4.56)
.
Figure 4.56: The Clip Highlighted in Yellow
4.
Do one of the following:
a.
Click on the Digitize button on the toolbar (Figure 4.57).
Digitize
Button
Figure 4.57: Digitize Button
b.
Right-click on the clip and select Digitize to Time Machine from the popup menu.
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You see a horizontal status bar go up and down in the clip picon, telling you
that Time Machine is digitizing the clip. You know Time Machine is finished
digitizing when the status bar stops, your deck stops playback, and your clip
turns dark blue on the timeline. Digitized clips are designated by dark blue.
Next you will select more than one clip on the timeline to digitize. To do so, do the
following:
1.
Select the other four clips on the timeline. To do this, do one of the following:
a.
Hold down the Control key on your keyboard and click on each clip.
b.
Right-click on the second clip, and choose Select From Here from the
pop-up menu (Figure 4.58).
Select
From
Here
Menu
Option
Figure 4.58: Choosing Select From Here
The second clip and those after it are selected.
2.
Repeat step 4 from above, either clicking on the Digitize button, or rightclicking on one of the clips and choosing Digitize to Time Machine from the
pop-up menu.
Time Machine digitizes each clip.
Selecting Clips
For Batch
Digitizing
The Batch Digitize window provides a convenient way to digitize groups of clips in
a batch. You can see the clips in the Batch List displayed in a bin window. There,
you can adjust settings for the clips and select which ones to include in the batch.
There are several reasons why you may want to use the Batch Digitize window
instead of digitizing clips on the timeline. You may want to view information about
the clips or adjust settings, such as compression level. You may want to use
AutoBatch to select the clips for digitizing as you log them. Or, you may want to
log a large number of clips, then decide later which ones to digitize and use in your
timeline.
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NOTE: Sending
your clips to the
Batch Digitize window does not save
them. To save them,
you must open the
Batch Digitize window and either digitize the clips or save
the To do list
before exiting the
GlobeCaster Editor.
215
There are three ways you can add clips to the Batch Digitize bin. You can select
them from the timeline, you can use AutoBatch to automatically send them to the
Batch Digitize bin as you log them, or you can drag picons from a bin into the
Batch Digitize window To do list. You will try each one of these.
Selecting Clips to Batch Digitize from the Timeline
Selecting clips for batch digitizing from the timeline is similar to digitizing from
the timeline, except you choose a different pop-up menu option. To do this, do the
following:
1.
Place five linear clips on the timeline.
Figure 4.59: Five Linear Clips on the Timeline
2.
Make sure that the original tape is in the source deck it was assigned to.
3.
Select the last three clips on the timeline. To do this, do one of the following:
a.
Hold down the Control key on your keyboard and click on the clips.
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b.
Right-click on the third clip, and choose Select From Here from the popup menu (Figure 4.60).
Select
From
Here
Menu
Option
Figure 4.60: Choosing Select From Here
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4.
Right-click on one of the selected clips and choose Add to Batch Digitize from
the pop-up menu (Figure 4.61).
Add to
Batch
Digitize
Menu
Option
Figure 4.61: Choosing Add to Batch Digitize
5.
217
Click on the Batch button on the toolbar (Figure 4.62).
Batch
Button
Figure 4.62: The Batch Button
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The Batch Digitize window opens across the lower part of the screen
(Figure 4.63).
Figure 4.63: The Batch Digitize Window
You see the clips you selected in the To do list bin.
6.
Click the Editor button (Figure 4.64) to close the Batch Digitize window and
return to the main the GlobeCaster Editor interface for the next phase of this
tutorial.
Editor
Button
Figure 4.64: The GlobeCaster Editor Button
Using AutoBatch
Turning on the AutoBatch button automatically sends clips to the Batch Digitize
bin as you log them. To do this, do the following:
1.
Place a tape in your source deck. Use a different one than the one for the clips
you used in the previous section. (Later in the tutorial you will want clips
from two tapes.)
2.
Select your source deck by right-clicking on the Source Type button
(Figure 4.65) under the left monitor.
Source
Type
Button
Figure 4.65: The Source Type Button
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Under the right monitor, click on the AutoBatch button (Figure 4.66) to turn
it on.
AutoBatch
Button
Figure 4.66: The AutoBatch Button
4.
Click inside the Clip Name field and enter a short description for the clip.
.
Clip Name
Figure 4.67: The AutoBatch Button
5.
Cue your tape to your start point, and click on the play button under the left
monitor (Figure 4.68).
Play Button
Mark In
Button
Mark
Out
Button
Figure 4.68: The Left Monitor Controls
6.
Mark a clip by clicking the Mark In and Mark Out buttons (previous figure),
or press m for mark in and the comma key for mark out.
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7.
Under the right monitor, click on the New Clip button (Figure 4.69), or press
the period key on the keyboard.
New Clip
Button
Figure 4.69: The New Clip Button
8.
Repeat steps 5 and 6 to mark two more clips.
9.
Click on the Batch button on the toolbar (Figure 4.70).
Batch
Button
Figure 4.70: The Batch Button
The Batch Digitize window opens across the lower part of the screen
(Figure 4.71).
Figure 4.71: The Batch Digitize Window
You see the clips you logged in the To do list bin.
Leave the Batch Digitize window open. You will work in it in the next section of
the tutorial.
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Dragging Picons to the To do list
When the Batch Digitize window is open, you can add clips to the list to be
digitized by dragging them from a bin to the To do list. You can also drag clips
from the To do list to a bin to save a shortcut for the clip.
To add clips to the Batch Digitize list, do the following:
1.
Locate a linear clip in one of your bins (Figure 4.72).
Figure 4.72: Linear Clips in a Bin
2.
Drag-and-drop the clip picon from the bin to the To do list.
The clip is listed in the To do list, and can be selected for digitizing.
Figure 4.73: The Clip Added to the To do list
At this point, you have a number of clips from at least two different tapes in the To
do list. You will use these in the next section, so this is a good time to save the
batch list. To do this, do the following:
1.
Locate the Batch List picon in the Batch Digitize window (Figure 4.74).
Batch
List
Picon
Figure 4.74: The Batch List Picon
You will use this picon to save the list. But first you will set this picon to display an
image you can recognize.
2.
Choose the clip that you want to represent this Batch List.
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3.
Click on the button in the Select column (Figure 4.75) to select the clip. Make
sure only one clip is selected.
Select
Button
Figure 4.75: The Select Button
The row for that clip is highlighted in yellow.
4.
Right-click on the Batch List picon.
A pop-up menu appears (Figure 4.76).
Figure 4.76: Batch List Picon Pop-Up Menu
5.
Select Set Picon to selected clip.
The picon for the clip you selected is now used as the picon for the Batch List
(Figure 4.77).
New
Batch
List
Picon
Figure 4.77: The New Batch List Picon
Now you are ready to save the Batch List.
6.
Drag the Batch List picon to the bin where you want to save the list.
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The list is saved in the bin.
Batch
Clip
Picon
Figure 4.78: The Batch List in the Bin
Now you can reload the list into the To do list at any time by double-clicking on its
picon in the bin.
You can also save the Batch List by clicking on the Save List button under the
Batch List picon (previous figure). It is saved to the bin designated for Unsaved
TM in the Global Settings panel. For information on the Global Settings panel,
see the “Using Configure Panels” chapter of the GlobeCaster User Guide.
Using The
Batch Digitize
Window
Once your clips are added to the To do list, the Batch Digitize window is a handy
way to organize them and digitize groups of clips. In this part of the tutorial, you
will use this window to rename your clips, set compression levels, turn off the
audio on one clip, and digitize all the clips from one tape in a group. You will save
your digitized clips in a bin.
First you will rename all of your clips that are from a single source tape. You may
find it easier to remember names that you give your clips rather than the default
names the GlobeCaster Editor assigns when you create them. Here’s how to
rename them:
1.
Right-click in the Name column for the first clip from the tape you are using.
A pop-up menu appears (Figure 4.79).
Figure 4.79: The Rename/Delete Pop-Up Menu
2.
Choose Rename from the pop-up menu.
The yellow band across the row of the clip you selected turns purple, and a
cursor appears at the beginning of the clip name.
3.
Type in a new name for the clip and press Enter.
The new name appears in the Name column.
4.
Repeat this process for all of the clips from this same tape.
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Next you will set the compression level for three clips from a single tape. Here’s
how:
1.
Click on the triangular button in the Compression column for one of your
renamed clips (Figure 4.80).
Compression
Button
Figure 4.80: The Compression Button
A pop-up menu listing the compression levels appears (Figure 4.81).
Figure 4.81: The Compression Pop-Up Menu
TIP: The varying
compression levels
are provided so you
can make choices
about image quality
versus file size. When
you begin a project,
you can digitize your
clips at a high compression level. Then,
once you finish the
project and have
selected the clips you
will actually use, you
can re-digitize them at
a lower compression
level before recording them to your master tape.
Time Machine compression levels range from Default to 6. Default gives the
highest image quality. Moving from Default toward 6 gives you progressively more
compression, and, thus, less quality.
The GlobeCaster Time Machine uses wavelet compression to digitize video.
Wavelet compression offers better video quality for less hard drive space than the
standard M-JPEG compression, which most other non-linear editing systems use.
Another advantage of wavelet compression is that you won’t see as many digital
artifacts, such as the pixel blocks that may show up on M-JPEG compressed video.
Wavelet compression, even at high compression ratios, retains the look of analog
tape.
2.
Choose 2 from the pop-up menu.
Time Machine will use a compression level of 2 when it digitizes this clip.
3.
Click on the compression button for the next renamed clip in the To do list.
4.
Choose 4 for the compression level.
5.
Click on the compression button for the next renamed clip in the To do list.
6.
Choose 6 for the compression level.
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You have set compression levels of 2, 4, and 6 for three clips. After you digitize
them, you can compare the quality from the different levels of compression. Don’t
forget to look at one digitized with the Default setting, too.
NOTE: The compression ratio can also
be changed in the
Before you digitize these clips, you will learn how to choose not to record the audio
for a clip. Here’s how:
Digitize Settings
1.
panel. Access this
panel by clicking on
the Configure button on the GlobeCaster Editor toolbar
and selecting Digitize Settings from
the pop-up menu. For
information on this
panel, see the “Using
Configure Panels”
chapter in the GlobeCaster User Guide.
Find the Components column of the Batch Digitize window (Figure 4.82).
Figure 4.82: The Components Column
2.
Click on the button labeled Audio 1&2 (Figure 4.83).
Audio 1&2
Button
Figure 4.83: The Audio 1&2 Buttons
The button turns gray, indicating it is turned off. By default, the Audio 3&4
button is turned off. When you digitize this clip, the audio tracks will not be
included. You could also digitize only the audio and not the video for a clip by
clicking on the Video button to turn it off and leaving the audio buttons on.
Next you will select all of the clips from the source tape you are working with for
digitizing. Here’s how:
1.
Find the Tape List at the top of the Batch Digitize window (Figure 4.84).
Figure 4.84: The Tape List
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2.
Click on the name of the tape you have been working from (Figure 4.85). In
this tutorial, the example tape is Tutorial.
Figure 4.85: Choosing the Tape Name
All the clips from that tape are selected in the To do list (Figure 4.86).
Select Button
Figure 4.86: Clips from Tutorial Tape Selected
You can tell which clips are selected for digitizing by looking at the square buttons
in the Select column. If the button is blue, the clip is selected; if it is gray, the clip
is not selected. Also, the State of the selected clips is Waiting. The State of the
non-selected clips is Ignored.
Another way to select clips is to click the Select All button to select all clips in the
To do list. You can also hold down the Control key on your keyboard and click on
the Select button for the clips you want to select.
Now that you have renamed your clips, set the compression levels, turned off the
audio for one clip, and selected all the clips from the tape you are working with,
you are ready to digitize this batch of clips. Here’s how:
1.
Make sure the source tape is in the deck you assigned it to.
2.
Click the Start button (Figure 4.87).
Start
Button
Figure 4.87: The Start Button
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Time Machine begins digitizing the clips. Two status bars, Clip % and
Total %, tell you the progress of digitizing the current clip and the total batch.
3.
When Time Machine finishes digitizing, click on the In Bin button in the
upper right of the Batch Digitize window.
In Bin
Button
Figure 4.88: The In Bin Button
This tells Time Machine to save shortcuts to your clips into a bin. You must
choose either In Bin or In Timeline each time you save a batch of digitized
clips. In Timeline places them on a timeline in the GlobeCaster Editor. If you
want to save the batch to both places you can do so, one at a time.
4.
Click on the Save Now button (Figure 4.89).
Save
Now
Button
Figure 4.89: The Save Now Button
Shortcuts for the digitized clips are saved to the bin set for Unsaved TM in the
Global Settings panel. For information on how to use this panel, see the
“Using Configure Panels” chapter in the GlobeCaster User Guide.
Where Are The
Clips Saved?
Time Machine saves digitized clips to your dedicated Time Machine hard drives
inside your GlobeCaster unit. However, shortcuts to the clips can be saved in any
bin you wish. When you selected In Bin above, for example, shortcuts to the clips
were saved in the bin designated in the Global Settings panel. You can also drag
digitized clip picons from the timeline or the To do list to any bin where you want
to save a shortcut for the clips.
For most practical purposes, the shortcut picons act just like clips. This is not true,
however, when it comes to deleting the clips. You can delete shortcuts to the clips
in the bins where they are located, but to delete the clips themselves you must
navigate to the Time Machine hard drives.
If you delete the clips from the Time Machine hard drives, the shortcuts in the bins
will not function on their own; you will have to re-digitize them from the source
tape. Don’t make the mistake of thinking you have a copy of a clip saved in a bin.
The picon in a bin is only a shortcut, as the clips are saved only on the Time
Machine hard drives.
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NOTE: You can
save as many shortcuts to Time Machine
clips in bins as you
want. Multiple shortcuts can reference the
same audio and video
footage on the Time
Machine hard drives.
Each shortcut can
contain different clip
properties, such as in
and out points, strobe
rate, etc.
You can access the Time Machine hard drives by parenting up through your bins.
This allows you to delete clips or load clips directly from the hard drive. To access
the Time Machine hard drives, do the following:
1.
In one of the open bins on your screen, click the A button in the upper right
corner of the bin (Figure 4.90).
Parent Button
A Button
Time
Machine
Drives Icon
Figure 4.90: The System Bin
This opens additional options for bin navigation.
2.
Click on the Parent button until you get to the System bin.
You see four options in the system bin: Desktop, Logical drives, Time
Machine, and GlobeCaster (previous figure).
3.
Double-click on the Time Machine icon.
You see an icon of a book (Figure 4.91). This represents the “volume” of Time
Machine you are using. Currently there is only one volume.
Figure 4.91: Volume Icon in Time Machine Bin
4.
Double-click on the volume icon.
You see a bin containing picons of your digitized clips (Figure 4.92).
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NOTE: These clips
are the actual audio
and video data only.
The Time Machine
hard drives do not
contain clip properties, such as in and
out points, strobe rate,
etc. These clip properties are saved in the
shortcuts for the clips
in the bins on your
PC.
Figure 4.92: Digitized Clips on Time Machine Hard Drives
To load your digitized clips into a monitor or onto the timeline, drag the picon
from this bin to where you want to load it.
This is where you delete your clips from the Time Machine drives. To do this,
right-click on a clip picon and choose Delete from the pop-up menu.
When you want to return to the bin you started from, click the Home button.
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Using
Automated
Features
Now that you know the basics of digitizing from the timeline and batch digitizing,
this section of the tutorial will show you how to put some of these features
together and quickly build a digitized timeline from a linear source tape. You will
use the AutoBatch and AutoSplice features to automatically queue clips for
digitizing and build a timeline as you log clips.
Here’s how:
1.
Place a linear tape in your source deck and select that deck for the Source
Type button under the left monitor. To do this, right-click on the Source Type
button (Figure 4.93).
Source
Type
Button
Figure 4.93: The Source Type Button Under the Left Monitor
Choose the source deck from the pop-up menu.
2.
Under the right monitor, click on the AutoBatch and AutoSplice buttons
(Figure 4.94) to turn them on.
AutoBatch
Button
Figure 4.94: The AutoSplice and AutoBatch Buttons
Turning on AutoBatch causes clips to be automatically added to the Batch List
in the Batch Digitize window as you log them. Turning on the AutoSplice
button causes clips to be automatically added to the timeline as you log them.
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Cue your deck up to the place where you want to log clips and click the play
button under the left monitor (Figure 4.95).
Play Button
Mark In
Button
Mark Out
Button
Figure 4.95: The Left Monitor Controls
3.
Log a clip by clicking the Mark In and Mark Out buttons (previous figure),
or by pressing m and the comma on your keyboard.
As you log each clip, it appears on the timeline and is sent to the To do list in
the Batch Digitize window.
4.
Repeat step 4 to log four more clips.
You see five clips on the timeline (Figure 4.96).
Figure 4.96: Five Clips on the Timeline
5.
Click the Batch button on the toolbar (Figure 4.97).
Batch
Button
Figure 4.97: The Batch Button
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The Batch Digitize window opens across the bottom of the screen
(Figure 4.98).
Figure 4.98: The Batch Digitize Window
You see the clips you logged in the To do list.
6.
Click the Start button (Figure 4.99).
Batch List
Picon
Figure 4.99: The Start Button
Time Machine digitizes your clips. As it digitizes you see a loading bar going
up and down in the Batch List picon and in the picon for each clip as it is
digitized. You also see the green status bar for Clip % and Total %
(Figure 4.100) telling you how far digitizing has progressed for the current
clip and the batch as a whole.
Clip % Status Bar
Total % Status Bar
Figure 4.100: The Clip % and Total % Status Bars (Solid Green)
When these bars are solid green and the loading bar disappears from the Batch List
picon, digitizing is completed.
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233
When Time Machine finishes digitizing your clips, click the GlobeCaster
Editor button on the right side of the screen to return to the main the
GlobeCaster Editor interface.
Figure 4.101: Digitized Clips on the Timeline
Your clips on the timeline are now digitized. You can tell this because they are
now dark blue. You can now edit the timeline like any other non-linear
timeline.
8.
Clip Versus
Source
Timecode
Save the timeline. Neither the timeline or batch list has been saved yet.
Under the left source monitors, you see a set of timecode numbers for the active
source. There is an important difference between the timecode of a digitized clip
when you select Clip as the source and the timecode you see when you select your
source deck as the active source. This section explains that difference.
Right-clicking on the Source Type button (Figure 4.102) under the left monitor(s)
brings up the Source Type pop-up menu.
Source A
Button
Figure 4.102: Source Type Pop-Up Menu
From here, you select which source type you want to edit in the source
monitor.
To understand the difference between Clip and Source timecode, do the following:
1.
Drag-and-drop a digitized clip onto the timeline.
2.
Be sure the digitized clip’s source tape is in the deck.
3.
Click the digitized clip in the timeline to select it.
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4.
Right-click the Source Type button under the source monitor.
The Source Type pop-up menu appears.
5.
Select Clip.
The Source Timecode sets itself to 00:00:00:00. This represents an absolute
timecode for that digitized clip file (Figure 4.103).
Source
Timecode
Source Type
Button
Figure 4.103: Timecode With Clip Selected
This absolute timecode is here to make editing digitized clips easier. However, the
timecode that represents the portion of the linear source from which the digitize
clip was taken is still present. You can view this timecode by doing the following:
1.
Click the Source Type button.
2.
Select the source deck in which your tape is located (Source A, Source B, or
Source C).
A frame from your source tape appears in the source monitor.
3.
Click the digitized clip in the timeline to select it.
4.
Click the Cue In button under the source monitor.
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The GlobeCaster Editor tells your deck to scrub to the Mark In point for the
clip on your source tape. The frame you see on the source monitor is the same
frame you saw as the first frame of the digitized clip (Figure 4.104).
Source
Timecode
Source Type
Button
Figure 4.104: Timecode With Source Selected
Notice that the Source Timecode is the timecode from the linear source, and
not the absolute timecode displayed when Clip is selected for Source Type.
This feature exists so that you can automatically cue a source tape up to the
original in point from which the digitized clip was taken. This way you can redigitize the clip if you need to, or adjust the in and out points to digitize a portion
of source tape you may have missed the first time.
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Logging
Sub-clips From
A Digitized Clip
Once you have a digitized clip, you can log sub-clips from it as though it were a
linear source. Here’s how:
1.
Navigate to the bin containing your digitized clip.
2.
Drag-and-drop the clip’s picon into the source monitor (one of the left
monitors).
The clip loads. The first frame of the clip appears in the source monitor. The
Source Type button changes to read Clip (Figure 4.105).
Source
Monitor
Source
Timecode
Source Type
Button
In Point
Timecode
Out Point
Timecode
Figure 4.105: The Loaded Digitized Clip
This makes the digitized clip a source. You can now log clips from it as though you
were logging clips from a linear source.
3.
Click the Play button.
The clip plays.
4.
Click the Mark In button a little bit before the point where you want the clip
to begin.
Leaving a little bit of lead in time on your clip is optional. It can make for
easier editing later.
If you know the timecode where you want the clip to begin, you can also mark
the in point by typing the timecode into the In Point timecode field and then
clicking the Mark In button. The GlobeCaster Editor instantly cues the clip to
that frame.
5.
Click the Mark Out button a little bit after the point where you want the clip
to end.
If you know the timecode where you want the clip to end, you can also mark
the out point by typing the timecode into the Out Point timecode field and
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then clicking the Mark Out button. The GlobeCaster Editor instantly cues the
clip to that frame.
A picon of the clip appears as the Clip picon in the toolbar (Figure 4.106). The
picon is the first frame of the clip.
NOTE: You do not
create new clip files
when you log subclips from a digitized
source clip. You are
only creating shortcuts that point back to
the digitized clip.
Because of this, do
not delete the digitized source clip. If
you do, the sub-clips
you created revert to
linear clips. You then
must re-digitize these
clips from the linear
source.
Clip
Picon
Figure 4.106: The Clip in the Toolbar
6.
Drag-and-drop the Clip picon onto the timeline.
The clip appears in the timeline (Figure 4.107).
Figure 4.107: The Clip in the Timeline
You can edit the clip just like any other clip.
Digitizing AVI
And WAV Files
The GlobeCaster Editor can digitize AVI and WAV files, and use them just like any
other clip in the timeline.
Here’s what you do:
NOTE: If you are
digitizing a WAV file,
no event is visible.
Click the + button to
the left of the Video
1 track name. Audio
tracks appear below
the Video 1 track.
These are your digitized audio tracks.
1.
Navigate to the bin containing your AVI or WAV file.
2.
Drag-and-drop the file’s picon into the timeline.
The file begins to digitize. As it digitizes, a status bar goes up and down in the
Timeline picon (Figure 4.108).
Status
Bar
Figure 4.108: The Timeline Picon
Once the file finishes, it appears in the timeline. The clip appears in the Video
1 track in the timeline.
You can edit digitized AVI and WAV clips the same way you edit any other digitized
clips.
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Changing The
Playback Speed
You can change the playback speed of a digitized clip. This is something you can’t
do with linear clips.
Here’s what you do:
1.
Load your digitized clip into the timeline.
2.
Right-click on the clip.
The Timeline Event pop-up menu appears (Figure 4.109).
Figure 4.109: The Timeline Event Pop-up Menu
Use this pop-up to edit various properties of the timeline and change timeline
viewing options.
3.
Select Properties.
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The Clip Main Properties panel appears in the upper left corner of the
interface (Figure 4.110).
Play Speed
Window
Figure 4.110: The Clip Main Properties Panel
The properties window shows the current Reel, Clip Name and you can use
this panel to edit properties of a selected clip. In this case, you want to change
this clip’s playback speed.
4.
Click in the Play Speed window (previous figure).
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The Play Speed pop-up menu appears (Figure 4.111).
NOTE: When you
are working with nonlinear clips, the
GlobeCaster Editor
automatically
accounts for changes
you make to the playback speed and loop
count. For example,
say you set the playback speed for a clip
to play in reverse.
When you scrub
through that clip on
the timeline, you see
the end of the clip
first. Then it plays
back to the beginning
of the clip as you
scrub through the clip
on the timeline. And,
if you open an
advanced editing
mode, such as Trim
Clip, what you see in
the monitor labeled
Figure 4.111: The Play Speed Pop-Up Menu
Use this pop-up to select the playback speed for the selected digitized clip. The
first six options, from 8x Rev (eight times faster than normal speed in reverse)
to Quarter Rev (one-fourth normal speed in reverse), play the clip in reverse.
The last six options, from Quarter Fwd (one-fourth normal speed) to 8x Fwd
(eight times faster than normal) play the clip forward.
First Frame,
Selected Clip is
actually the last frame
of the clip, since that
is what you see first
when the clip is
played in reverse.
5.
Select the playback speed you want.
The clip automatically changes its length on the timeline to match the new
playback speed.
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You can make a digitized clip play in a loop. This is something you can’t do with a
linear clip.
Here’s what you do:
1.
Load your digitized clip onto the timeline.
2.
Right-click on the clip.
The Timeline Event pop-up menu appears (Figure 4.112).
Figure 4.112: The Timeline Event Pop-Up Menu
Use this pop-up to edit various properties of the timeline and change timeline
viewing options.
3.
Select Properties.
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The Clip Main Properties panel appears in the upper left corner of the
interface (Figure 4.113).
Loop Count
Window
Figure 4.113: The Clip Main Properties Panel
Use this panel to edit properties of a selected clip. In this case, you want to
change this clip’s Loop Count.
To make a clip loop, you change the value in the Loop Count window (previous
figure). The number you enter is the number of times the clip plays. The default is
1.
4.
Change the value in the loop count window to 2.
The GlobeCaster Editor sets the clip to play in a loop twice. Notice the clip in
the timeline doubles in size.
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Hybrid Timeline
243
In some situations, you may want to build a timeline that uses both non-linear
clips (digitized on Time Machine) and linear clips (from one of your source decks).
This type of timeline is called a hybrid timeline. The GlobeCaster Editor is
designed so that you can use the same tools to edit linear and non-linear clips.
One situation where you may want to build a hybrid timeline is when you want to
use a long segment of tape without digitizing it, but you want to add effects and
transitions at the beginning or end of the timeline. This is the type of timeline you
will build in this part of the tutorial.
What You Will
Need
You’ll need to make sure you have a few things ready so you can follow along with
the project:
•
At least one source VTR connected.
You’ll be working with clips from tape, so this is a must.
•
At least one source tape with timecode and video recorded.
You’ll be using this to provide linear clips for your timeline.
•
At least one digitized clip on your Time Machine hard drives.
You’ll also use a couple of video stills and DSKs (downstream keys). You can find
some examples of these in the bins, or you can use your own.
Building The
Timeline
In this tutorial, the example timeline has stills and non-linear clips at the
beginning and the end, and a linear clip in the middle. There is also an overlay in
the form of a credit roll on top of the linear clip.
Begin the timeline with a fade up from black, so matte black is the first item on the
timeline.
1.
Navigate to the GlobeCaster\Bins\Clips bin, and find the picon labeled Matte
Black (Figure 4.114).
Figure 4.114: The Matte Black Picon in the Clips Bin
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2.
Double-click the Matte Black picon to add it to the timeline (Figure 4.115).
Figure 4.115: Matte Black Added to the Timeline
You only need this clip to last for 1 second. If you see a different duration for the
clip on your timeline, you’ll need to trim the clip with the GlobeCaster Editor’s
Trim Clip editing feature. Here’s how:
TIP: The keyboard
shortcut for placing a
1 second matte black
clip on the timeline is
the k key. Make sure
you are in Add Clip
mode, press the k
key, and the matte
black clip appears on
the timeline at the
location of the Position Bar..
1.
If the Matte Black clip is not selected, click on it to select it.
2.
Click the Trim Clip button (Figure 4.116) on the GlobeCaster Editor toolbar
Trim
Clip
Button
Figure 4.116: The Trim Clip Button
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The Trim Clip monitors and controls appear (Figure 4.117).
Duration Field
Figure 4.117: The Trim Clip Monitors and Controls
Saving The
Timeline
3.
Adjust the duration of the clip to 1 second by typing 00:00:01:00 into the
Duration field under the left monitor, or clicking on the + or - buttons next to
the Duration field.
4.
Click the Add Clip button to return to the default editing mode.
This is a good time to save the timeline. Saving your work frequently is a good
habit to develop. If a project doesn’t seem to be heading in the right direction, you
can simply go back to an earlier version and start from there.
Before you save the timeline, rename it.
1.
Find the Timeline picon in the blue Timeline Controls on the toolbar
(Figure 4.118).
Timeline
Picon
Figure 4.118: The Timeline Picon
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2.
Right-click on the picon and choose Rename from the pop-up menu
(Figure 4.119).
Rename
Menu
Option
Figure 4.119: Choosing Rename from the Pop-Up Menu
A cursor appears in the name on the Timeline picon in the toolbar.
3.
Type in hybrid01 and press Enter on your keyboard
The new timeline name appears on the Timeline picon (Figure 4.110).
Figure 4.120: The New Name for the Timeline
The file extension .ptl (The GlobeCaster Editor timeline) is added to the file
name.
4.
Navigate to a bin where you would like to save the timeline (Use the Top Bins
and Btm Bins buttons to quickly open bins if necessary).
5.
Drag the timeline picon to the bin and drop it.
The timeline is saved there.
As you continue to work on the project, you can save future versions as hybrid02,
hybrid03, etc.
Adding The
Next Clip
At this point you are ready to add the next clip. The example uses a digitized clip
that’s an animated version of one of the stills found in the bins. Feel free to use a
digitized clip of your own if you have one, or you can use any still. If you use a
digitized clip, make sure it has a duration of at least 5 seconds.
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247
Navigate to the Bins/Stills/Test folder, and find the _GCLogo.tfs picon
(Figure 4.121).
GlobeCaster
Logo Still
Figure 4.121: Picon for the GlobeCaster Logo Still
2.
Drag- and-drop the picon onto the Video 2 track of the timeline, dropping it
so that it begins at 01:00:00:02 (Figure 4.122).
Figure 4.122: Adding the Second Clip to the Timeline
3.
If necessary, click the Trim Clip button again and adjust the duration of the
clip until it is at least 2 seconds.
Now you will add a dissolve.
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4.
Right-click on the clip you just dragged onto the timeline and choose Create
Dissolve from the pop-up menu (Figure 4.123).
Create
Dissolve
Menu
Option
Figure 4.123: Creating a Dissolve from the Pop-Up Menu
You see a dissolve from black to the clip on the FX track of the timeline
(Figure 4.124).
Dissolve
Figure 4.124: The Dissolve Added to the Timeline
Checking
The Edit
Before going any further, check this edit.
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Turn on View mode by clicking the View button (Figure 4.125).
View
Button
Figure 4.125: The View Button
2.
Click the First Frame button to rewind the timeline, then press the Play
button (Figure 4.126).
Play
Button
First
Frame
Button
Figure 4.126: The First Frame and Play Buttons
When you select View and play back the timeline, you see selected events that
involve non-linear clips only, as this timeline does so far. After you view the edit,
return to the default editing mode by clicking on the Add Clip button.
Adding A
Linear Clip
At this point, you are ready to add your clip from tape. If you need more
information on topics such as logging clips, naming tapes, and assigning source
decks, see “Linear Editing” on page 182.
We worked with the Source A deck in this project. To make it easy to follow along,
you may want to also assign your source deck as Source A. (For information on
how to do this, see “Assigning Source Decks” on page 184).
1.
Make sure you are in Add Clip mode (click on the button on the toolbar if it is
not on).
2.
Put the tape with your footage into your source deck (making sure that it is
powered up and connected to GlobeCaster, of course).
3.
Use the transport controls under the monitor labeled Source A to play back
the source tape (Figure 4.127).
Figure 4.127: The Transport Controls for the Source A Deck
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4.
When you see a good place to start the clip, press the Mark In button.
5.
Continue playback of the tape, then press Mark Out to end the clip.
Make sure your clip has duration of at least 20-25 seconds.
Source Versus
Timeline
Timecode
Next to the Mark In and Mark Out buttons under the Source Deck A monitor,
you see timecode numbers. These timecode numbers are the actual location of the
clip on the source tape. Be sure not to confuse these timecode numbers with those
under the output (right) monitor, which represent the position of clip on the
timeline.
When you click the Mark In button, the GlobeCaster Editor creates a picon for the
clip using the first frame of the clip (Figure 4.128).
Clip
Picon
Figure 4.128: The Clip Picon
Before you add this clip to the timeline, rename it.
6.
Right-click on the Clip picon, and select Rename from the pop-up menu
(Figure 4.129).
Rename
Menu
Option
Figure 4.129: Choosing Rename from the Pop-Up Menu
A cursor appears at the bottom of the picon.
7.
Type in a new name for the clip, such as B Roll, and press Enter on your
keyboard.
The Clip Picon displays the new name (Figure 4.130).
Clip
Picon
Figure 4.130: The Renamed Clip Picon
At this point, you are ready to add the clip to your timeline.
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Drag-and-drop the clip picon onto the Video 1 track of the timeline, making
sure it overlaps the previous clip by about 1 second (Figure 4.131).
Figure 4.131: Adding the New Clip
Next, add a SMPTE wipe to this edit.
9.
251
Navigate to the GlobeCaster\Bins\FX\Wipes\ folder.
10. Select the _SMPTE0011NTSC.tfs picon (Figure 4.132).
Wipe
Picon
Figure 4.132: The Picon for the SMPTE Wipe
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11. Drag the picon to the FX track of the timeline, and drop it at the in point of
the B roll you just added (Figure 4.133).
SMPTE
Wipe
Figure 4.133: Adding the SMPTE Wipe
Checking
The Edit
Go ahead and take a look at this edit. Since this edit involves a clip from a tape
machine, the process is a little different than with the last edit you reviewed.
1.
Click on the Timeline button in the Main Controls (Figure 4.134) to turn it
on.
Timeline
Button
Figure 4.134: The Timeline Button
2.
Click on the First Frame button to rewind the timeline, then click on the Play
button (Figure 4.135).
Play
Button
First
Frame
Button
Figure 4.135: The First Frame and Play Buttons
The timeline plays back, except for the B roll clip, which is replaced by that deck’s
current output.
Adding
Elements
To complete the project, you will add a few more non-linear events. First, add an
overlay to the B roll clip.
1.
Navigate to the GlobeCaster\Bins\CG\Projects folder.
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Find the _PAGE0001.tfx picon (Figure 4.136).
Title Roll
Picon
Figure 4.136: The Title Roll Picon
This picon represents an overlay.
3.
Drag-and-drop the picon onto the timeline a second or two after the previous
effect ends (Figure 4.137).
Overlay on DSK Track
Figure 4.137: Adding the Overlay to the Timeline
The effect appears on a new track labeled DSK (downstream key).
Next you will add one more clip and effect.
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4.
Drag-and-drop a digitized clip (or a still from the GlobeCaster\Bins\Stills
directory) onto the Video 2 track. Make sure it overlaps the end of the B Roll
clip for 1 second (Figure 4.138).
The Last Clip
Figure 4.138: Adding the Last Clip
5.
Navigate to the GlobeCaster\Bins\FX\Wipes bin, and find the FlashWhite
Wipe (Figure 4.139).
Wipe
Picon
Figure 4.139: The Flash White Wipe Picon
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Drag the picon to the FX track and drop it at the in point of the previous track
(Figure 4.140).
The Last Effect
Figure 4.140: Adding the Last Effect
Final Check
This completes the timeline, so you wil
.l review it one final time.
Click on the First Frame button in the Main Controls to rewind the timeline, then
click on the Play button (Figure 4.141).
Play
Button
First
Frame
Button
Figure 4.141: The First Frame and Play Buttons
The timeline plays back, except for the B roll clip, which is replaced by that
deck’s current output.
You have now built a hybrid timeline, and seen how to combine non-linear and
linear clips. Aside from the physical limitations imposed by playback from a tape
source, the GlobeCaster Editor allows you to use the same set of tools for both
linear and non-linear clips.
Wrapping Up
In this tutorial, you learned how to digitize clips on the timeline, how to use the
Batch Digitize window, how to log sub-clips from a digitized clip, how to digitize
AVI and WAV files, how to change playback speed and loop count for a clip, and
how to build a hybrid timeline. You now are familiar with the basics of editing in
the GlobeCaster Editor. To polish off your editing skills, read the tutorial “Using
Advanced Editing Modes” on page 256. Other tutorials teach you how to do
specific kinds of projects, such as “Using Advanced Editing Modes” on page 256.
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Using Advanced Editing Modes
When you log clips or build a timeline with the GlobeCaster Editor, usually you
have the Add Clip button selected (Figure 4.142).
Add
Clip
Button
Figure 4.142: The Add Clip Button
This is the GlobeCaster Editor’s default editing mode, which is similar to the 1.2
version of the GlobeCaster Editor. But GlobeCaster software has added five
advanced editing modes designed for quick and precise editing. Generally you use
these modes once you already have clips on a timeline and want to fine tune your
edits.
This tutorial teaches you how to use the five editing modes:
•
Trim Clip
•
Trim Edit
•
Slip Source
•
Slide
•
Transition Edit
The advanced editing modes are used for linear or non-linear editing. When
working with linear clips, turn on Tape Scrub in the Editor Options panel if you
want the monitors to update as you adjust the clips (see “Editor Options Panel” on
page 93 for information on how to do this).
When you digitize clips with Time Machine, 1 second is added to each end of the
clip to give you trimming room. In the advanced editing modes, the monitors
display the true in and out frames of the clip as marked, not the frames from the
extra trimming room.
In this tutorial you will work with each advanced editing mode. The tutorial also
explains when to use each mode, and how to use some of the other tools you will
encounter when using the editing modes.
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When you open the GlobeCaster Editor, you see two monitors at the top of the
screen (Figure 4.143).
Figure 4.143: The GlobeCaster Editor with Two-Monitor View Selected
By default, the GlobeCaster Editor starts up in Add Clip mode. The two monitors
are set to display Source (Deck) A and the Timeline, along with transport controls
appropriate for the display.
The GlobeCaster Editor allows you to see three or four monitors, which you may
want to do if you have multiple source VTRs. You can switch these monitors on
and off with the Monitor View Buttons (Figure 4.144).
Monitor
View
Buttons
Figure 4.144: The Monitor View Buttons
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When you select 3, the GlobeCaster Editor displays the output (the default is
Timeline) in the right monitor and your selected input sources in the other
monitors (Figure 4.145).
Figure 4.145: The GlobeCaster Editor with Three-Monitor View Selected
The third monitor opens over the top left bin.
When you select 4, the GlobeCaster Editor displays the output (the default is
Timeline) in the right monitor and your selected input sources in the other
monitors (Figure 4.146).
Figure 4.146: The GlobeCaster Editor with Four-Monitor View Selected
The fourth monitor opens over the top right bin.
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So far, this tutorial has only looked at the monitors while the GlobeCaster Editor is
in Add Clip mode. If you select a different mode, such as Trim Edit, the functions
of the monitors change (Figure 4.147).
Figure 4.147: Four-Monitor View in Trim Edit Mode
In this case, the monitors now work in pairs. The two monitors on the right show
you the first and last frame of a clip you have selected on the timeline, while the
two monitors on the left show you the first and last frame of the preceding clip.
Furthermore, the monitors that are both ends of a clip are joined by a continuous
line of sprocket holes (Figure 4.148).
Figure 4.148: Sprocket Holes Displaying the Beginning and End of a Clip
Viewing Bins
Seeing all four monitors at once is usually more convenient, but sometimes you
may need quick access to the bins that the two extra monitors replace. You can
quickly open these bins by clicking the Top Bins button (Figure 4.149).
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NOTE: If your monitor and video card
support it, you might
consider using a
larger screen size
(1600x1200 or larger)
for your GlobeCaster
Editor display. This
allows you to use the
three- or four-monitor view modes all the
time, while still leaving space for open
bins, and even a larger
timeline.
Transport
Controls
Top Bins
Button
Figure 4.149: The Top Bins Button
When you click the Top Bins button, the GlobeCaster Editor returns to twomonitor view mode, and the top left and right bins reappear. When you finish with
the bins, you can click the Top Bins button again to return the GlobeCaster Editor
to the three- or four-monitor view mode.
Regardless of how many monitors you choose to display, there is always a set of
pale red buttons directly below some or all of the monitors (Figure 4.150).
Figure 4.150: Transport Controls
These are the transport controls. These controls function slightly differently in the
various editing modes. This is explained in the following sections about each
editing mode. Controls that are ghosted out do not function in the editing mode
you selected.
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Here are descriptions of the basic controls and how they function (in order from
left to right):
Jog Back 10 Frames—Moves back or trims 10
frames at a time
Jog Back 5 Frames—Moves back or trims five
frames at a time
Jog Back 1 Frame—Moves back or trims one frame
at a time
Pause—Puts deck in Pause mode, pausing playback
if the deck is rolling, or spooling the tape so it is
ready to play if the deck is stopped
Jog Forward 1 Frame—Moves ahead or trims one
frame at a time
Jog Forward 5 Frames—Moves ahead or trims five
frames at a time
Jog Forward 10 Frames—Moves ahead or trims 10
frames at a time
Trim Clip Mode
Trim Clip mode is designed for trimming the in and out points of a single clip.
In this section of the tutorial, you will build a simple timeline, then experiment
with the Trim Clip controls.
1.
Start with a new timeline, and drag two clips back-to-back on to the Video 1
track (Figure 4.151).
Figure 4.151: Adding Clips to the Timeline
2.
Select the second clip you added by clicking on it.
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3.
Click the Trim Clip button (Figure 4.152).
Trim
Clip
Button
Figure 4.152: The Trim Clip Button
When you click the button, the monitors switch from displaying sources to
displaying the first and last frames of the clip you selected (Figure 4.153).
In
Timecode
Out
Timecode
Figure 4.153: Trim Clip Mode
If you look at the transport controls, you can tell quite a bit about your clip.
Under the left monitor is a field labeled In, and under the right monitor is one
labeled Out. These are your in and out timecode numbers for the clip on the
current timeline.
Also under the left monitor is a field labeled Duration. This represents the
amount of time the clip occupies on your timeline.
To trim the clip, do one of the following:
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Click the - or + buttons next to the Duration field to change the duration of
the clip in 1 second (30 frame) intervals (Figure 4.154).
- Button
+ Button
Figure 4.154: Changing the Duration of a Clip
•
Click one of the Jog/Trim buttons to increase or decrease the in and out points
by 1, 5 or 10 frames at a time (Figure 4.155).
Jog/Trim Buttons
Figure 4.155: Changing the In and Out Points with the Jog/Trim Buttons
•
Type in a new duration directly by clicking in the Duration field, typing the
new duration, and pressing Enter (Figure 4.156).
Duration Field
Figure 4.156: Changing the Duration of a Clip from the Duration Field
Under the left monitor is the Loop Clip button. This is a tool that allows you to
play non-linear clips in a continuous loop so you can see them repeatedly as you
adjust the in and out points. You can use the - or + buttons or type a number into
the timecode field to set how much time before and after the clip the loop plays.
For example, if the clip duration is 5 seconds and you type in 1 second in the Loop
Clip timecode field, the loop plays the clip plus 1 second before and 1 second after
the clip, for a total of 7 seconds. After you have set the length of the loop, click the
Loop Clip button to play the loop. To stop the loop playing, click the Loop Clip
button again, or click the stop or pause buttons in the transport controls.
NOTE: The Loop
Clip function does not
work for linear clips.
So far, you have worked on the second clip on the timeline. Now you will play with
the first one a bit.
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1.
Click on the first clip on the timeline.
2.
Click on the + button next to the Duration field.
Hmm. Nothing happens. That is because increasing this clip’s duration would
cause its out point to be after the second clip’s in point. Since Trim Clip mode
is for trimming one clip at a time, it does not allow you to affect the duration
of clips other than the selected clip.
Next you will look at what happens when the clips are on different tracks.
First, you need to add a third clip to the timeline.
3.
Drag another clip and drop it onto the Video 2 track so that its in point is the
same as the previous clip’s out point (Figure 4.157).
Figure 4.157: Adding the Third Clip to the Video 2 Track
4.
Click the third clip to select it.
5.
Click the Jog/Trim 10 Frames Back button (Figure 4.158).
Jog/Trim 10 Frames Back
Figure 4.158: Moving the Clip’s In Point
You should have no trouble moving the third clip’s in point to before the
second clip’s out point since they occupy different tracks.
Trim Edit Mode
When you need to change the edits between two clips you may want to use Trim
Edit mode.
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Start with a new timeline, and drag two clips back-to-back onto the Video 1
track (Figure 4.159).
Figure 4.159: Adding Clips to the Timeline
2.
Select the second clip by clicking on it.
3.
Click the Trim Edit button (Figure 4.160).
Trim Edit
Button
Figure 4.160: The Trim Edit Button
The left monitor shows the last frame of the previous clip, and the right
monitor shows the first frame of the selected clip (Figure 4.161).
NOTE: Switching to
three-monitor view
adds the first frame of
the previous clip.
Four-monitor view
adds both the previous clip’s first frame
and the selected clip’s
last frame.
Figure 4.161: Trim Edit Mode
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In this example, you will move the edit by making the selected clip begin 8 frames
earlier.
4.
Under the right monitor, labeled First Frame, Selected Clip, click on the Jog/
Trim 5 Frames Back button (Figure 4.162).
Jog/Trim 5 Frames
Jog/Trim 1 Frame
Back Button
Back Button
Figure 4.162: The Jog/Trim 5 Frames Back and Jog/Trim 1 Frame Back Buttons
The edit moves back 5 frames. In the example, the in timecode of the selected
clip goes from 00:00:07:10 to 00:00:07:05. The out timecode of the preceding
clip also changes to 00:00:07:05.
NOTE: The monitors update to show
you the new in and
out frames. In this
case, however,
because you are
working with matte
clips you do not see a
change.
5.
Click three times on the Jog/Trim 1 Frame Back button (previous figure).
The in timecode for the selected clip and the out timecode of the preceding
clip now read 00:00:07:02.
You have moved the edit 8 frames earlier.
Looping Edits
If you look at the transport controls (Figure 4.163), you see that they are different
than in Trim Clip mode.
Loop Edit Button
Loop Edit Timecode
Figure 4.163: Trim Edit Mode Transport Controls
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Under the left monitor there is a button called Loop Edit (previous figure). When
working with non-linear clips, this feature allows you to view the edit repeatedly as
you adjust it.
NOTE: The Loop
Edit function does not
work for linear clips.
To use the Loop Edit button, do the following:
1.
Click on the second clip of the edit you want to loop.
2.
In the Loop Edit timecode field, type in the length of time that you want to
include in the loop before and after the edit itself. Or, use the - and + buttons
to decrease or increase the length by 1-second intervals.
For example, we typed in 00:00:07:00 for our Loop Edit timecode. This means
the loop plays 7 seconds before and 7 seconds after the edit.
Figure 4.164: Setting the Loop Edit Time
3.
Click the Loop Edit button.
The button lights up and the selected portion of the timeline, including the
edit, plays in a continuous loop.
4.
Slip Src
(Source) Mode
To end the loop, click the Loop Edit button again, or click the stop or pause
buttons in the transport controls.
If you get all your clips on the timeline and then decide you want a clip to start or
end several frames earlier or later, you can use Slip Source mode to adjust it. In Slip
Source, you can change the in and out points of the clip without changing its
duration or position on the timeline. It works by changing which part of a clip is
used, slipping it forward or backward.
To use Slip Source mode, do the following:
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1.
Start with a new timeline and drag three clips back-to-back onto the Video 1
track (Figure 4.165).
Figure 4.165: Adding Clips to the Timeline
2.
Select one of the clips by clicking on it.
3.
Click the Slip Src button (Figure 4.166).
Slip Src
Button
Figure 4.166: The Slip Src Button
The GlobeCaster Editor enters Slip Source mode, and you see the first and last
frames of the selected clip in the monitors (Figure 4.167).
Figure 4.167: Slip Source Mode
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Click one of the Jog/Trim buttons to change the in point of the clip’s source
timecode.
You see the in point and out point of the clip change together. The duration
and the rest of the timeline are not affected.
The Roll And
Slide Edit
Buttons
By default, when you activate Slip Source mode the Roll and Slide Edit options
from the Editor Options panel (Figure 4.168) are selected.
Roll
Button
Slide
Edit
Button
Figure 4.168: The Roll and Slide Edit Buttons on the Editor Options Panel
NOTE: Slip Source
mode requires only
the two-monitor view.
If you select the fourmonitor view, the
middle two monitors
are in Slip Source
mode and the outer
two monitors are in
Slide mode.
These buttons affect the behavior of the mouse, so that you can perform the same
action with the mouse as with the transport controls. The Roll button causes the
mouse to behave like Slip Source mode, slipping the in and out points of the clip
without changing its length or position on the timeline. Slide Edit causes the
mouse to behave like Slide mode when you click on the trimming handle of a clip.
If you don’t want to use the mouse this way, you can change the Roll setting to
Move and the Slide Edit function to Trim Clip on the Editor Options panel (see
“Editor Options Panel” on page 93 for more information on these functions).
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Slide Mode
Sometimes you may want to change the clips immediately preceding and following
the selected clip, without changing the duration of the selected clip. This is easy to
do with the Slide editing mode.
Start with a fresh timeline once again, and drag five clips back-to-back on to
the Video 1 track (Figure 4.169).
Figure 4.169: Adding Clips to the Timeline
1.
Select the middle clip by clicking on it.
2.
Click the Slide button (Figure 4.170).
Slide
Button
Figure 4.170: The Slide Button
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This puts the GlobeCaster Editor into Slide mode (Figure 4.171).
Figure 4.171: Slide Mode
You see transport controls, a Revert button, a field displaying the out point of
the preceding clip under the left monitor, and another field with the in point
of the following clip under the right monitor. Also notice that the clip you
selected does not appear at all.
3.
Click the Jog/Trim 10 Frames Forward button.
The selected clip moves 10 frames forward on the timeline. This makes the
preceding clip 10 frames longer, and the following clip 10 frames shorter. The
duration of the selected clip is not changed. The rest of the timeline is also
unchanged.
Using Four
Monitors In
Slide Mode
If you use the four-monitor view in Slide mode, the GlobeCaster Editor actually
provides a combination of Slide and Slip Source functions (shown in the
Figure 4.172).
Figure 4.172: Using Four Monitors in Slide Mode
The middle two monitors are in Slip Source mode, and the outer two monitors are
in Slide mode. So, you can perform Slide functions by using the transport controls
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under the first (far left) monitor, and Slip Source functions on the selected clip by
using the transport controls under the second monitor.
Trans(ition)
Edit Mode
So far this tutorial has covered a wide variety of editing tools, but it hasn’t yet
covered timelines that contain effects other than cuts, such as dissolves, wipes, or
warps. There is an editing mode designed specifically to adjust such edits, and it is
called Transition Edit mode (Trans Edit).
To experiment with Transition Edit mode, you need a simple timeline.
1.
Start with a new timeline and drag three clips to alternating tracks, making
sure the clips overlap (Figure 4.173).
Figure 4.173: Adding Clips to the Timeline
Next, you will create a dissolve between the first two clips.
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Right-click the first clip in the overlapped area and choose Create Dissolve
from the pop-up menu (Figure 4.174).
Figure 4.174: Choosing Create Dissolve
A dissolve appears on the FX track (Figure 4.175).
Figure 4.175: The New Dissolve on the Timeline
If you look carefully at the dissolve, you see that it begins exactly where the
clips begin to overlap on the timeline, and ends exactly where the clips stop
overlapping.
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NOTE: The fourmonitor mode is
required to use Transition Edit mode, and
is automatically
selected when you
click the Trans
Edit button.
3.
Click the Trans Edit button.
Trans
Edit
Button
Figure 4.176: The Trans Edit Button
The GlobeCaster Editor enters Transition Edit mode (Figure 4.177).
Figure 4.177: Transition Edit Mode
Next you will adjust the dissolve you created.
4.
Click the second clip to select it.
When editing a transition in Transition Edit mode, the clip that begins at the
transition must be the selected clip, and the clip that ends at the transition is the
preceding clip. Therefore, the selected clip must be at least the second one on the
timeline.
Transport
Controls, Part I
Following is an explanation of the transport controls for the preceding clip
(Figure 4.178).
Figure 4.178: The Transport Controls for the Preceding Clip
The first (left-most) monitor displays the frame of the preceding clip at the
beginning of the transition. This is called the Transition Out Frame.
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The second monitor displays the last frame of the preceding clip. This is the Out
Frame.
There are three ways to edit the effect with these controls:
•
Click one of the Jog/Trim buttons under the Transition Out (far left) monitor
(Figure 4.179).
Jog/Trim Buttons
Figure 4.179: The Jog/Trim Buttons Under the Transition Out Monitor
These buttons make the effect happen earlier or later on the timeline. The
preceding clip‘s duration and out point stay fixed, while the in point of the
selected clip and duration of the transition change.
You can also set a new Transition Out frame by typing a timecode in the Trn
Out (Transition Out) field and pressing Enter on your keyboard.
•
Click one of the Jog/Trim buttons under the Out (second from left) monitor
(Figure 4.180).
Jog/Trim Buttons
Figure 4.180: The Jog/Trim Buttons Under the Out Monitor
These buttons increase or decrease the duration of the transition. The duration
and in point of the selected clip remain the same, while the out point of the
preceding clip and duration of the transition change.
You can also set a new Out frame by typing a timecode in the Trn Out
(Transition Out) field and pressing Enter on your keyboard.
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•
Type a new number into the T Duration (Transition Duration) field
(Figure 4.181).
T Duration Field
Figure 4.181: The T Duration Field
The duration of the transition is shown in the T Duration Field.
To change the duration, type the timecode into the field, or use the + or buttons next to it. The in point of the transition and selected clip are not
affected, but the duration of the preceding clip and the transition change.
Lock Trans Button
When you enter Transition Edit mode, the Lock Trans button on the Editor
Options panel is turned on by default (Figure 4.182).
NOTE: This works
only for transitions
that do not have fixed
lengths. If the transition on the timeline
does not have trimming handles, it cannot be resized.
Lock Trans
Button
Figure 4.182: The Lock Trans Button
As long as this option is selected, you can use the mouse to change the in and out
points of a transition between two clips and the clips automatically follow the
changes. In other words, the effect always covers exactly the overlapped area of the
clips.
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The transport controls for the selected clip (Figure 4.183) are similar to those for
the preceding clip.
Figure 4.183: The Transport Controls for the Selected Clip
The third monitor from the left displays the Transition In Frame for the selected
clip. This is the first frame where the selected clip begins to transition in.
The fourth monitor, on the far right, displays the In Frame for the selected clip.
This is the frame where the transition ends and
Use these controls to change the in point on the timeline for the selected clip. The
in point and duration of the effect change accordingly.
Fixed Duration
Effects
Next you will add another transition to the timeline, this time between the second
and third clips. But you will use a different type of effect.
1.
From the home bin (GlobeCaster\Bins), navigate to the Fx\Sampler bin.
2.
Find the picon for the _050_RotateTL.tfx effect (Figure 4.184).
The
_050_Rotate
TL Effect
Figure 4.184: Finding an Effect Picon
TIP: When you
move your mouse
over a picon, its name
appears in a pop-up
box.
3.
Drag the picon from the bin and drop it at the in point of the third clip on the
timeline. Remember that a yellow position indicator appears when the clip is
lined up exactly.
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You now have a new transition between the second and third clips
(Figure 4.185).
Figure 4.185: Adding the New Effect to the Timeline
4.
Click the third clip to select it.
Notice that the effect has no trimming handles, unlike the previous dissolve.
This means that this effect has a fixed duration.
If you try to use the transport controls, you cannot adjust the effect, only the
in and out points of the clips. You also see a message in the GlobeCaster
Editor’s Message Field (Figure 4.186).
Figure 4.186: Fixed Length Effect Message
TIP: You can
quickly replace a
fixed-length effect
with a dissolve. To do
this, right-click on the
effect, and choose
Replace with
Dissolve from the
pop-up menu.
Wrapping Up
If the duration of the fixed-length effect does not work for the transition between
your clips, you have two choices:
•
If you are flexible about the duration of the transition between the clips, you
can change the in and out points of the clips to match the fixed-length effect
you selected.
•
If you don’t have a lot of flexibility on the duration, you can replace the fixedlength effect with one with a more suitable duration, or with a variable-length
effect.
In this tutorial, you learned how and when to use each of the GlobeCaster Editor’s
five advanced editing modes: Trim Clip, Trim Edit, Slip Source, Slide, and
Transition Edit. You also learned what the monitors show you in these modes.
And, you practiced adjusting clips by using the transport controls, by dragging
clips with the mouse, and by typing in timecode numbers.
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Sync Roll Editing
In this tutorial, you will learn how to perform a sync roll edit using the functions
of the VTR Transport/Sync Roll/Live Digitize panel in the GlobeCaster Switcher
and then digitize the clips of this sync roll in the GlobeCaster Editor.
Sync roll editing is a technique typically used when two or more cameras were set
up at a live event, such as a wedding, and the feed from each camera was recorded
to a different tape. The tapes are then brought back to the studio, synchronized to
the same point in time, and played back simultaneously while the editor switches
the tapes as if they were on location switching cameras live.
Sync roll editing works in conjunction with the timeline building function of the
VTR Transport/Sync Roll/Live Digitize panel. With this panel, you can create a
timeline as you switch these tapes. That way, you can bring your timeline into the
GlobeCaster Editor and make adjustments or corrections.
By following this tutorial, you will get a feel for how to use the functions of the
VTR Transport/Sync Roll/Live Digitize panel to sync roll edit and build a
timeline that can be edited in the GlobeCaster Editor.
This tutorial is broken up into six steps. These steps are:
Setting Up The
VTR Transport/
Sync Roll/Live
Digitize Panel
1.
Setting up the VTR Transport/Sync Roll/Live Digitize panel
2.
Marking the starting points for your video sources
3.
Sync roll editing and building a timeline
4.
Setting picons for your timeline clips
5.
Importing the timeline into the GlobeCaster Editor
6.
Digitizing the timeline clips
Before you can begin sync roll editing, you need to first set whether your RS-422
decks are play or record decks in the VTR Transport/Sync Roll/Live Digitize
panel. By doing this, you will get a feel for one of this panel’s functions, which is
controlling decks from the GlobeCaster Switcher. Only RS-422 compatible decks
can be controlled from this panel.
To set up the VTR Transport/Sync Roll/Live Digitize panel, follow these steps:
1.
From the GlobeCaster Editor, toggle to the GlobeCaster Switcher by pushing
the Scroll Lock button on your keyboard.
You can use the Scroll Lock button to toggle between the GlobeCaster Editor
and the GlobeCaster Switcher programs without losing your work in either
application.
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The GlobeCaster Switcher program can also be opened by clicking the
GlobeCaster Switcher button (Figure 4.187) in the toolbar.
Switcher
Button
Figure 4.187: The Switcher Button
You see the GlobeCaster Switcher program on your screen.
2.
Click on the Panels button (Figure 4.188).
Panels
Button
Figure 4.188: The Panels Button
A pop-up menu appears.
3.
Choose VTR Transport from the pop-up menu (Figure 4.189).
VTR
Transport
Menu
Option
Figure 4.189: Choosing VTR Transport from the Pop-Up Menu
You see the VTR Transport/Sync Roll/Live Digitize panel (Figure 4.190) in
the upper right corner of your screen. With this panel, you can control VTRs
directly from the GlobeCaster Switcher interface. This panel also gives you the
flexibility to digitize live clips or build timelines that can be played back
fromthe GlobeCaster Switcher or edited in the GlobeCaster Editor. In this
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tutorial, you will use the Build Timeline function to create a timeline that can
be edited in the GlobeCaster Editor.
Figure 4.190: The VTR Transport/Sync Roll/Live Digitize Panel
4.
In the VTR Transport/Sync Roll/Live Digitize panel, set the source type for
each deck to Play by clicking the Source Type button next to the source
(Figure 4.191). In the example, Source 1 is used.
Source
Type
Button
Figure 4.191: The Source Type Button for Source 1
A pop-up menu appears.
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5.
Choose Play from the pop-up menu (Figure 4.192).
Play
Menu
Option
Figure 4.192: Choosing Play from the Pop-Up Menu
By doing this, you have set up the Source 1 deck as a play deck. Choosing
Record from the pop-up menu makes the deck a record deck, which records
your edits to tape as you sync roll edit. Since in this tutorial you will build a
timeline and bring it into the GlobeCaster Editor, you do not need to set a
record deck. Choosing Off from the pop-up menu turns off record and play
functions for the deck.
6.
Since you want all of your source decks to be play decks for this tutorial,
repeat step 5 for each source deck.
TIP: If you want to
crash record your
project as you sync
roll edit it and build a
timeline, you can do
this by setting a deck
as a record deck. Do
this by clicking the
Source Type button
for the desired deck
and choosing Record
from the pop-up menu
(Figure 4.193).
Record
Menu
Option
Figure 4.193: Choosing Record from the Pop-Up Menu
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In the VTR Transport/Sync Roll/Live Digitize panel, select audio tracks in
the mixer for your Source 1 deck by clicking the Mixer button (Figure 4.194)
next to the source.
Mixer
Button
Figure 4.194: The Mixer Button for Source 1
A pop-up menu appears.
8.
Choose a mixer channel from the pop-up menu (Figure 4.195). This tutorial
illustrates 3/4 being selected, but you could choose any pair of mixer channels.
Figure 4.195: Choosing a Mixer Channel from the Pop-Up Menu
By setting the mixer channels to 3/4 for your first source deck, you can control
the audio coming from the source deck with the level sliders labeled 3 and 4 in
the Audio Mixer panel (Figure 4.196). Choosing 5/6 from the pop-up menu
sets the audio to correspond to the level sliders labeled 5 and 6 in the Audio
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Mixer panel. For more information on using this panel, see the GlobeCaster
Switcher Manual.
Figure 4.196: The Audio Mixer Panel
9.
Select a mixer channel for each source deck by repeating steps 7 and 8 for each
deck.
Leave the VTR Transport/Sync Roll/Live Digitize panel open for now, you
will use it again later in this tutorial.
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NOTE: If Time
Machine is installed
in your GlobeCaster,
you can digitize the
program out as you
switch your video. Do
this by clicking on the
TimeMachine
button (Figure 4.197),
then clicking the
Source Type button and choosing
Time
Machine
Button
Program Out
from the pop-up menu
(next figure). Because
in this tutorial you
will digitize the clips
after you bring your
timeline into the
GlobeCaster Editor,
you do not need to
digitize the program
out video.
Figure 4.197: The Time Machine Button
Program
Out Menu
Option
Figure 4.198: Choosing Program Out from the Pop-Up Menu
Now that you’ve set up the decks for your project, it’s time to mark in points for
your sources.
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Chapter 4
Marking
Starting Points
For Video
Sources
In this section of the tutorial, you will mark the starting point for each video
source. The starting point will be where you want the tape to start playing when
you click the Sync Roll button in the VTR Transport/Sync Roll/Live Digitize
panel. Clicking this button cues up all decks and starts them playing, so you want
to make sure to set in points for each tape.
Follow these steps to mark the starting points for your video sources:
1.
Select a source deck by clicking on the Source button for the desired deck
(Figure 4.199).
Selected
Source
Button
Figure 4.199: The Selected Source Button
2.
With the transport controls in the VTR Transport/Sync Roll/Live Digitize
panel (Figure 4.200), shuttle to where you want the tape to begin when you
start sync roll editing. This is where you mark the start point.
Figure 4.200: The Transport Controls
NOTE: When performing a sync roll,
you want the in points
on the video tapes
marked at a reference
point that denotes an
instant in time. For
example, many wedding videographers
use multiple cameras
to record the wedding
from various angles.
To synchronize the
tapes from these cameras, a white flash is
often used at the
beginning. Once the
in points for all of the
tapes is set to the
flash, they are synchronized in time.
3.
When you get to where you want your tape to start, click the Mark button
(Figure 4.201).
Mark
Button
Figure 4.201: The Mark Button
By doing this, you have marked an in point on your tape.
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Now, when you click the Cue button (Figure 4.202) with that source deck
selected, the tape is cued to this point.
Cue
Button
Figure 4.202: The Cue Button
4.
Repeat steps 1 to 3 for each source deck until you have marked in points for
each tape.
5.
In the VTR Transport/Sync Roll/Live Digitize panel, cue up all of your decks
by clicking the Cue All button (Figure 4.203).
Cue All
Button
Figure 4.203: The Cue All Button
Once you click the button, all of your tapes are cued to where you marked in
points.
Leave the VTR Transport/Sync Roll/Live Digitize panel open for now, as you
will use it later in this tutorial.
TIP: Individual tapes
can be cued by selecting the Source button for the desired
deck, then clicking
the Cue button
(Figure 4.204).
Cue
Button
Figure 4.204: The Cue Button
You are now ready to move to the next section of the tutorial.
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Chapter 4
Sync Roll
Editing And
Building A
Timeline
Now that you have set in points for your tapes and have cued them up, you’re
ready to begin sync roll editing. In this section of the tutorial, you will edit your
video by switching your video sources as you would switch a live show. Using the
functions of the VTR Transport/Sync Roll/Live Digitize panel, you will set it up
so that a timeline is built as you switch your video. Later in this tutorial, you will
bring this timeline into the GlobeCaster Editor and digitize the clips from the
timeline.
To sync roll edit and build a timeline, follow these steps:
1.
In the VTR Transport/Sync Roll/Live Digitize panel, turn on the automatic
timeline building function by selecting the Build Timeline button
(Figure 4.205).
Build
Timeline
Button
Figure 4.205: The Build Timeline Button
By doing this, you are telling GlobeCaster to automatically build a timeline as
you are switching your video sources. This is necessary if you wish to fine tune
the projects or digitize the individual clips in the GlobeCaster Editor.
2.
In the VTR Transport/Sync Roll/Live Digitize panel, start a new timeline by
clicking the New TL button (Figure 4.206).
New TL
Button
Figure 4.206: The New TL Button
NOTE: If you have
a timeline loaded into
the GlobeCaster Editor, and you do not
start a new timeline,
the timeline you create as you sync roll is
automatically added
to the end of the
loaded timeline.
3.
If there is an unsaved timeline loaded into the GlobeCaster Editor, you see a
window that says, “Current GlobeCaster Editor project is not saved. Save
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changes now?” (Figure 4.207). If you want to save the project, click Yes. If
you do not want to save the project, click No.
Figure 4.207: The Save Project Window
4.
In the VTR Transport/Sync Roll/Live Digitize panel, take note of the Rec
Safety button (Figure 4.208). Select this button if you have assigned a deck as
a record deck and are crash recording as you sync roll edit.
The Rec Safety button offers a safety net for when you have assigned a deck as
a record deck and are crash recording. With Rec Safety selected, when you
click the Sync Roll, Start All, or Record buttons, a menu pops up asking if
you really want to crash record.
Rec
Safety
Button
Figure 4.208: The Rec Safety Button
The next step is to begin your sync roll editing. Before you do this, you may want
to set up the GlobeCaster Switcher so that you can begin switching your video
once you tell the VTR Transport/Sync Roll/Live Digitize panel to begin your sync
roll. For example, you may want to load some transition effects and set your
program out source before you begin your sync roll.
1.
In the VTR Transport/Sync Roll/Live Digitize panel, begin your sync roll.
There are two ways to do this:
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Chapter 4
a.
Click the Sync Roll button (Figure 4.209) to begin your sync roll.
Sync
Roll
Button
Figure 4.209: The Sync Roll Button
When you click this button, the GlobeCaster Switcher first cues up your tapes
to the in points you marked earlier and starts the record deck recording (if you
assigned a record deck). If you have a Time Machine installed and selected the
TimeMachine button, Time Machine begins digitizing a clip as you switch
your video.
b.
Click the Start All button (Figure 4.210)
Start All
Button
Figure 4.210: The Start All Button
Clicking this button starts all the tapes playing and recording from wherever
their current point is (if you assigned a record deck). If you have a Time
Machine installed and selected the TimeMachine button, Time Machine
begins digitizing a clip as you switch your video.
An example of when you would use the Start All button is if you specifically
need to start all your decks without cueing them up first.
2.
Now that you’ve clicked the Sync Roll or Start All button, you can begin
switching your project. For more information on switching video, see the
GlobeCaster Switcher Manual.
As you switch your video, GlobeCaster assembles your timeline in the
GlobeCaster Editor. When you finish your sync roll, you can go into the
GlobeCaster Editor to work with this timeline.
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291
When you have finished switching your project, click the Stop All button
(Figure 4.211) in the VTR Transport/Sync Roll/Live Digitize panel to stop all
of your decks. Clicking this button also stops the build timeline function.
Stop All
Button
Figure 4.211: The Stop All Button
TIP: A Timeline
picon that is saved to
a bin can be loaded
and played back in the
GlobeCaster Switcher
by double-clicking it.
This loads the timeline into the FX window. This timeline is
played by clicking the
Auto button or by
pushing the Space
Bar on your keyboard. This timeline
can also be loaded
into the GlobeCaster
Editor as you would
any timeline.
Once you have stopped all of your decks, your timeline is complete and you
can save it to a bin or toggle to the GlobeCaster Editor to edit the event on the
timeline.
4.
Save the timeline to a bin by dragging-and-dropping the Timeline picon
(Figure 4.212) from the VTR Transport/Sync Roll/Live Digitize panel to a
bin.
Start All
Button
Figure 4.212: The Timeline Picon
5.
Close the VTR Transport/Sync Roll/Live Digitize panel by clicking the X
button in the upper right corner of the panel.
You’re now ready to move on to the next section.
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Chapter 4
Bringing The
Timeline Into
the
GlobeCaster
Editor
Now that you’ve finished your sync roll, you can bring the timeline you created
into the GlobeCaster Editor for further editing or for digitizing your clips (if you
have a Time Machine installed). After building a timeline in the GlobeCaster
Switcher, there are two ways to bring a timeline into the GlobeCaster Editor. They
are:
1.
If you saved the timeline picon into a bin, then worked on other projects, and
then came back to the GlobeCaster Switcher, do this:
a.
Bring up the GlobeCaster Editor by clicking the Editor button
(Figure 4.213), or by pressing the Scroll Lock button on your keyboard.
Editor
Button
Figure 4.213: The Editor Button
You see the GlobeCaster Editor program on your screen.
b.
Locate the timeline picon (Figure 4.214) in the bin where you saved it.
Figure 4.214: The Timeline Picon
c.
Load this timeline into the GlobeCaster Editor by double-clicking it.
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You see the timeline opened up in the GlobeCaster Editor (Figure 4.215). Your
timeline will look different than the following figure, since you switched your
own video.
Figure 4.215: The Timeline in the GlobeCaster Editor
2.
If you’ve just finished your sync roll and want to go directly to the
GlobeCaster Editor to edit the timeline, press the Scroll Lock button on your
keyboard. This is the hot key to toggle from the GlobeCaster Switcher to the
GlobeCaster Editor programs.
You see the timeline open in the GlobeCaster Editor (Figure 4.216). Your
timeline will look different than Figure 4.216, since you switched your own
video.
Figure 4.216: The Timeline in the GlobeCaster Editor
You are now ready to move on to the next step.
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Chapter 4
Setting Picons
For Timeline
Clips
Before you begin editing or digitizing anything on your timeline, it is a good idea
to first set picons for all of your timeline clips. When a timeline that was built in
the GlobeCaster Switcher is brought into the GlobeCaster Editor, all of the clips
have a generic GlobalStreams picon on them. Setting picons for the clips puts a
still from the clip on the clip’s picon. This makes it easier to determine what is on
each clip.
To set picons for your timeline clips, follow these steps:
1.
In the toolbar, right-click on the Timeline picon (Figure 4.217).
Figure 4.217: The Timeline Picon
A pop-up menu appears.
2.
Choose Make all Picons from the pop-up menu (Figure 4.218).
Make All
Picons
Menu
Option
Figure 4.218: Choosing Make All Picons from the Pop-Up Menu
Once you choose this option, the GlobeCaster Editor shuttles through the
tapes and sets a picon for each clip in the timeline. On the timeline, you see a
status bar moving up and down in each clip’s picon. This indicates that the
GlobeCaster Editor is setting picons for each clip.
With picons set for your clips, you are ready to digitize the clips.
Digitizing The
Timeline Clips
Now that you have a timeline of your sync roll in the GlobeCaster Editor, you can
edit the timeline as you would any project. You can also digitize your clips to Time
Machine if you have one installed in your GlobeCaster. You do this by selecting the
clips you want to digitize on the timeline, or by digitizing the clips in a batch using
the Batch Digitize window. In this section of the tutorial, you will learn several
ways to digitize clips.
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NOTE: When Time
Machine digitizes
clips, an extra second
is digitized at the
beginning and end of
the digitized clip.
This gives you extra
video to fine-tune
your edits.
295
To digitize all of the clips on the timeline, follow these steps:
Digitizing all Clips Using the Pop-Up Menu
1.
In the timeline, select the first clip you wish to digitize by clicking on it.
You see the event highlighted, indicating that it is selected (Figure 4.219).
Figure 4.219: The Selected Clip
2.
Digitize the selected clip by right-clicking on it and choosing Digitize to Time
Machine from the pop-up menu (Figure 4.220).
Digitize to
Time
Machine
Menu
Option
Figure 4.220: Choosing Digitize to Time Machine from the Pop-Up Menu
Once you choose this option, the GlobeCaster Editor cues up your decks and
then begins digitizing the clip. You see a white status bar moving up and down
in the clip’s picon, indicating that the clip is being digitized.
3.
Repeat steps 1 and 2 for each clip in your timeline until all of your clips have
been digitized to Time Machine.
Digitizing Selected Clips with the Digitize Button in the Toolbar
1.
In the timeline, select the first clip you wish to digitize by clicking on it.
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Chapter 4
You see the event highlighted, indicating that it is selected (Figure 4.221).
Figure 4.221: The Selected Clip
2.
In the Clip Controls, click the Digitize button (Figure 4.222) to digitize the
selected clip.
Digitize
Button
Figure 4.222: The Digitize Button
Once you choose this option, the GlobeCaster Editor cues up your decks and
then begins digitizing the clip. You see a white status bar moving up and down
in the clip’s picon, indicating that the clip is being digitized.
3.
Repeat step 2 for each clip in your timeline until all of your clips have been
digitized to Time Machine.
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Digitizing Clips Using the Batch Digitize Window
1.
Select all of the clips in your timeline by right-clicking on an event in the
timeline and choosing Select All from the pop-up menu (Figure 4.223).
Select All
Menu
Option
Figure 4.223: Choosing Select All from the Pop-Up Menu
In the timeline, you see that all of the events are selected.
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Chapter 4
2.
Add all of the events to the Batch Digitize list by right-clicking on an event in
the timeline and choosing Add to Batch Digitize from the pop-up menu
(Figure 4.224).
Add to
Batch
Digitize
Menu
Option
Figure 4.224: Choosing Add to Batch Digitize from the Pop-Up Menu
3.
On the toolbar, bring up the Batch Digitize window by clicking the Batch
button (Figure 4.225) on the toolbar.
Batch
Button
Figure 4.225: The Batch Button
You see the Batch Digitize window (Figure 4.226) in the bottom half of your
screen. From this window, you can set the properties for each clip, and digitize
selected clips in a batch. For more information on using the Batch Digitize
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window, see “Using The Batch Digitize Window” on page 142 and the tutorial
on non-linear editing in this chapter.
Figure 4.226: The Batch Digitize Window
NOTE: If you are
logging clips, there is
a fourth way to digitize them. You can
turn on the AutoBatch button under
the right monitor, and
the clips are automatically sent to the Batch
Digitize list as you
mark them. When
using the AutoBatch button, be
sure to click on the
New Clip button
under the right monitor to clear the Clip
picon between each
clip. In this tutorial,
you have already
marked your clips
using the VTR
Transport/Sync
Roll/Live Digitize panel, so you
won’t use AutoBatch.
For more information
on the AutoBatch feature, see the tutorial
on non-linear editing
in this chapter, or
“AutoBatch” on
page 61.
Once you’ve digitized all of your clips, you can edit your timeline as you would
any project. This timeline can also be dropped into the FX picon in the
GlobeCaster Switcher and played back. By completing this tutorial, you now have
the skills to perform a sync roll edit and digitize timeline clips in the GlobeCaster
Editor.
For more tutorials using the GlobeCaster Editor, see the GlobeCasters Tutorials
Manual.
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EDITOR MANUAL
APPENDICES
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Appendix I
Keyboard Commands
Keyboard commands are a quick way to navigate through applications. In this
appendix, you find keyboard commands for the GlobeCaster Editor:
Clip Controls
Accelerators
Ctrl+L
Lift.
Ctrl+E
Extract.
Ctrl+S
Split.
Shift+M
Merge.
Shift+Ctrl+D
Digitize.
Ctrl+Z
Undo.
Ctrl+Y or
Shift+Control+Z
Redo.
Ctrl+B
Batch.
1
Enter trim clip mode.
2
Enter trim edit mode.
3
Enter slip source mode.
4
Enter slide clip mode.
5
Enter transition mode.
6
Enter add clip mode.
7
Enter view mode.
Shift+2
Two monitor mode (actually @ sign).
Shift+3
Three monitor mode (actually # sign).
Shift+4
Four monitor mode (actually $ sign).
Ctrl+R
Toggle Ripple mode.
Timeline
Controls
Accelerators
303
Keybo ard C omman ds
304
Appendix I
Main Controls
Accelerators
A
Select timeline/record deck.
S
Select source A.
D
Select source B (must be in 3 or 4 panel mode).
F
Select source C (must be in 4 panel mode).
0
Opens Source Pop-up Menu for currently active
source.
Space Bar
All stop.
E
Preview.
W
Review.
Q
Perform.
Monitor
Controls
Accelerators
M
Mark in.
, (comma)
Mark out.
J
Splice.
K
Overwrite.
L
Replace.
. (period)
New clip.
G
Cue in.
H
Cue out.
Numpad +
Increase duration on active source.
Numpad -
Decrease duration on active source.
N
Go to current timecode on current deck.
Insert
Enter duration timecode on active source.
Home
Enter in point timecode on active source.
End
Enter out point timecode on active source.
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Edit Guide
Accelerators
Ctrl+M
Toggle edit guide.
Alt+M
Go to next edit guide.
Shift+Alt+M
Go to previous edit guide.
Ctrl+Alt+M
Go to next created edit guide.
Shift+Ctrl+Alt+M
Go to previous created edit guide.
Shift+Ctrl+M
Select edit guide.
C
Play current deck.
Shift+C or Alt+C
Play 2x.
V
Pause/stop current deck.
Shift+V or Alt+V
Stop.
Z
Rewind current deck.
Alt+Z
Reverse play.
X
Fast-forward current deck.
Alt+Q
Rewind 4x.
Shift+Alt+Q or
Shift+Z
Rewind 8x.
Alt+W
Rewind 1/4x.
B
Slow current deck.
Alt+E
Fast-forward 1/4x.
Alt+R
Fast-forward 4x.
Shift+Alt+R or
Shift+X
Fast-forward 8x.
Alt+A
Rewind 5 frames.
Alt+S
Rewind 1 frame.
Alt+D
Forward 1 frame.
Alt+F
Forward 5 frame.
VTR
Accelerators
305
Keybo ard C omman ds
306
Appendix I
Panel
Accelerators
O
Open Editor Options Panel
Ctrl+O
Toggle Editor Options Panel
P
Open Clip Properties Panel
Ctrl+P
Toggle Clip Main Properties Panel
Ctrl+Alt+P
Toggle Clip Audio Properties Panel
Ctrl+T
Toggle Tape Main Properties Panel
Ctrl+Alt+T
Toggle Tape Audio Properties Panel
Ctrl+V
Toggle Vector Scope Panel
Scroll Lock
Toggle Switcher/Editor applications.
Ctrl+Alt+A
Launch Animator/Compositor (quit).
Shift+Ctrl+Alt+A
Launch Animator/Compositor (minimize).
Ctrl+Alt+C
Launch Character Generator (quit).
Shift+Ctrl+Alt+C
Launch Character Generator (minimize).
Ctrl+Alt+E
Launch Effects Generator (quit).
Shift+Ctrl+Alt+E
Launch Effects Generator (minimize).
Ctrl+U
Unload timeline.
Alt+B
Toggle Load Timeline from Pos Bar
T
Toggle Load Timeline on Scrub
[ (left bracket)
Set Audio Scrub Option to “Play up to pos
bar”
\ (backslash)
Set Audio Scrub Option to “Play centered
around pos bar”
] (right bracket)
Set Audio Scrub Option to “Play from pos
bar”
Application
Accelerators
Miscellaneous
Accelerators
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Shift+P
Convert timeline to PAL
Tab
Next source event
Shift+Tab
Previous source event
left arrow
Move position bar in timeline 1 frame left.
right arrow
Move position bar in timeline 1 frame right.
Ctrl+left arrow
Move position bar in timeline 10 frames left.
Ctrl+right arrow
Move position bar in timeline 10 frames right.
Ctrl+up arrow
Zoom in timeline x2
Ctrl+Alt+up arrow
Zoom in timeline +10%
Ctrl+down arrow
Zoom out timeline x1/2
Ctrl+Alt+down arrow
Zoom out timeline -10%
Ctrl+?
Launch Help window
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Appendix II
Troubleshooting Guide
This section is a troubleshooting guide to problems and possible solutions for the
GlobeCaster Editor.
I don’t see video on the monitor in the GlobeCaster Editor interface.
In serial devices, check that the correct input numbers are dedicated to the
correct decks or other video equipment.
The GlobeCaster Editor won't import my EDL.
•
The file doesn't end in .edl. Solution: rename it so the extension is .edl.
•
Or the EDL isn't in CMX 3400 or 3600 format. Solution: save the EDL in
that format in whichever tool you are saving the EDL.
The GlobeCaster Editor EDLs don’t look the same when loaded back in.
This is because the GlobeCaster Editor can't save all the transitions,
downstream keys, color corrections, audio settings, etc. in a text EDL. It may
also have to alter the data slightly so that the timeline can be understood by a
CMX editor. If you want all your settings saved, don't save your timeline as an
EDL until you want to take it to another system.
“Whip” Edits. There is a jump in the image for the first frame or two at the in
point of the edit on the record tape.
This is called a “whip” edit. We know of two potential causes and their
corresponding solutions.
•
Old media. If the tape is highly used, or if an edit has been done at that
point several times, the area of the tape could get tired. Solution: Try
newer media.
•
The heads on the deck have seen a lot of action. The heads may not switch
cleanly from playing to insert editing. Solution: get the deck(s) serviced.
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Appendix II
When I am editing in the GlobeCaster Editor, the system aborts the edit.
Several possible problems can cause aborted edits. Two things to look at right
off the bat are:
•
If you have a Panasonic DVC Pro 640, 650, or 750, check the CF or
CAP.LOCK menu setting. If there is a choice between 2F and 4F, set it to
2F. Setting it to 4F can cause some edits to be off by one frame EVERY
time.
•
Is the timecode continuous during the preroll of the edit on all the tapes
involved? If not, this can cause the editor to believe the edit will be wrong
and therefore abort the edit. Try running decks using Timer1 timecode,
which you can set in serial device properties (see the chapter on “Serial
Devices” in the User’s Guide for more information on setting serial device
properties).
If neither of these things is causing the problem, try the following:
•
In Edit Options turn OFF Abort Inaccurate Edits.
•
For all playback decks involved in the edit, go to Deck Properties Panel
and turn ON Disable Bumps. Also set Play Delay to zero (0).
•
Use the superimpose video out of all playback decks, so you can see a
timecode window on the screen for each deck you look at.
•
Run simple cuts-only edits from each playback deck.
•
Cue to the in point of the edit on the record deck (after it's been
performed) and look at the timecode in the superimpose text. Compare
this time to the actual IN point for the source deck.
There can be multiple problems observed, and they should be fixed in this
order:
•
If in the previous step you didn't see anything from the source clip you
marked, then it may mean that the edit deck didn't start recording at the
right time. Although this wouldn't cause an edit to abort, it will make it
more difficult to diagnose and fix that problem.
Solution: Count out how many frames pass on the record deck before you see
a frame from the source clip (including the one at the record in point).
Multiply this number by 2 (to get fields) and call that the “edit delay
adjustment.” (Note: if the edit actually started recording BEFORE the in-point
this would be a negative number, the number of frames of source that were
recorded before the in point multiplied by -2).
Go to Configure--Serial Devices panel and select Properties for this edit deck.
Add this “edit delay adjustment” to the number in the Edit Delay box and
enter the result there. If the Edit End Delay was the same as the Edit Delay
before you changed it, put the same result into Edit End Delay that you put
into Edit Delay.
Remember to go into Properties for the source decks and turn off the Disable
Bumps button which you turned on at the beginning of this solution. It
should improve the accuracy of the edits with most tape decks.
•
If the record tape correctly shows the source material starting at the record
in frame, and ending on (but not including) the out frame, then do this:
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Look at the recorded timecode overlay at the in point on the record deck, and
subtract that timecode from the actual source in-point for the clip. Multiply
this number by 2 to get fields and enter it in the Play Delay number box in the
Properties window for the source deck that the clip came from. (Get Serial
Device Properties from Configure--Serial Devices panel). You may have to do
this fix for each playback deck. At this point, you should be able to run an edit
and have it be frame-accurate at least some of the time. If you go into
Properties for the source decks and turn off the Disable Bumps button, it
should improve the accuracy of the edits with most tape decks.
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Appendix II
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313
FCC Notice
This equipment has been tested and found to comply with the limits for a Class A
digital device, pursuant to part 15 of the FCC Rules. These limits are designed to
provide reasonable protection against harmful interference when the equipment is
operated in a commercial environment. This equipment generates, uses and can
radiate radio frequency energy and, if not installed and used in accordance with
the instruction manual, may cause harmful interference to radio communications.
Operation of this equipment in a residential area is likely to cause harmful
interference in which case the user will be required to correct the interference at
his own expense.
FC C N otice
314
EDITOR MANUAL
INDEX
316
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Index
Symbols
? Button, 178
Numerics
2 (Monitors) Button, 90
3 (Monitors) Button, 90
4 (Monitors) Button, 90
Animate Level, 108
Animate Level Pop-Up Menu
Add Dip, 106, 107
Add Fade In, 106
Add Fade Out, 107
Add Keyframe, 107
Create Cross-Fade, 109
overview, 160
Animating Audio Levels, 108,
155
Animator/Compositor Button,
A
A/V Edit, Creating, 208
A/X Edit, Creating, 207
A1 & A2, Time Machine
Recorder Panel, 64
Abort Edits If Off By More
Than, 99
Aborting Edits
Margin, 99
Retries, 99
Add Clip Button, 90
Add Dip, 106, 107
Add Fade In, 106
Add Fade Out, 107
Add Keyframe, 107
Add to Batch Digitize, 108, 141
Adding a Graphic Overlay, 24
Adding Clips To The Timeline,
200
Adding Effects And DSK’s, 204
Adding Effects to Timeline, 21
Adjust (Matte) Color, 108
Adjusting
Black Hue, 79
Black Magnitude, 79
Hue, 79
Luma, 79
Saturation, 79
Setup, 79
White Hue, 79
White Magnitude, 79
Advanced Editing Modes
See Editing Modes
Aligning Events, Using Snap,
115
All Stop Button, 53
Animate (Audio) Button, 165
178
Appending A Timeline, 87, 205
Assemble Button, 55
Assembling A Timeline,
Options, 98
Assigning Record Decks, 186
Assigning Source Decks, 45
Assigning Sources, 65
Audio
adding cross-fade, 109
adding dips, 106, 107
adding fade ins, 106
adding fade outs, 107
adding keyframes, 107
animating levels, 165
animating on timeline, 155
controls, 161
cubic keyframes, 159
editing keyframes, 158
equalizer panel, 165
hold keyframes, 159
keyframe, decibel level, 157
level controls, 163, 165
linear keyframes, 158
mixing, 161
muting, 165
muting monitor, 161
pan controls, 163, 165
send left controls, 163, 165
send right controls, 163, 165
setting frequency, 169
setting gain, 169
setting q, 169
setting tape properties, 161
stripping, 163, 164
stripping, from digitized
clips, 225
trim controls, 163, 165
VU meter, 161
Audio Controls
monitor slider, 161
Mute button, 161
VU meter, 161
Audio Edit Lock Buttons, 76
Audio Levels Tracks
doubling height, 110
halving height, 111
resetting height, 114
stripping, 76
unlocking, 76
Audio Levels, Animating, 108
Audio Properties Button, 57
Audio Tracks Pop-Up Menu
Cubic, 109
Edit Key, 110
Hold, 111
Linear, 112
Auto Assemble Button, 98
Auto Beats, 96
Auto3Pnt, 61, 195
AutoBatch, 61, 218
Automatically Saving Clips, 63
AutoSave Button, 63, 196
AutoSplice Button, 61, 194
Aux(iliary) Button, 119
AVI Files, Digitizing, 141, 237
B
Batch Button, 72
Batch Digitize Window
Active Deck Status, 143
Approx Space Required, 143
Batch List picon, 144
Clip %, 144
Clips Selected, 143
Comments, 149
Components, 148, 225
Compression, 149
Deselect All, 143
digitizing clips, 226
Editor button, 146
End, 148
Icon, 147
In Bin button, 145
In Timeline button, 145
Length, 148
Ind ex
318
Manage Tapes button, 144
message area, 145
Name, 148
opening, 72
overview, 142, 223
Project, 149
Remove Selected, 143
renaming clips, 223
Save (Batch) List button, 144
Save Now button, 145
saving batch list, 144
saving clip from batch list,
147
Select, 148
Select All, 143
selecting clips, 148
setting compression level,
224
Size (Of Clips), 149
Space Available, 143
Start, 144
Start timecode, 148
State, 148
Stop button, 144
Tape, 148
Tape List, 143, 225
To Do List bin, 146
Total %, 144
Total Time Selected, 143
User, 149
Volume, 148
Batch Digitizing, 108
selecting clips for, 214
sending clips to list, 141
Batch List
adding clips to, 221
Picon, 144
saving, 144, 221
selecting clips, 214
selecting clips in, 148
setting picon, 221
Bins
changing the number of, 36
Black Hue, 79
Black Mag, 79
Blue Slider
Effect Border Color panel,
122
Matte Color panel, 122
Border (Wipes) Button, 120
Btm (Bottom) Bins Button, 36,
170
Buttons, 98
-/+
clip duration, 128
source duration, 68
Transition Edit mode, 134
?, 178
_, 178
2 Monitors, 90
3 Monitors, 90
4 Monitors, 90
A1, A2, A3, A4, 52
Add Clip, 90
All Stop, 53
Animate (Audio), 165
Animator/Compositor, 178
Assemble, 55
Audio Properties, 57
auto assemble, 98
Auto Beat, 96
Auto3Pnt, 61
AutoBatch, 61
AutoSave, 63
AutoSplice, 61
Aux(iliary), 119
Batch, 72
Border (for wipes), 120
Btm (Bottom) Bins, 170
BVB, 97
Character Generator, 178
Checkerboard, 98
Clip Props, 70
Configure, 170
Copy to all clips from same
tape, 77
Cubic, 159
Cue In, 62, 68
Cue Out, 62, 68
Default (Effect Border Color/
Matte Color panels), 122
Digitize, 72
Double Click, 97
Duration (effects), 119
Effect Generator, 178
Eject, 53
Extract, 71
Fast Forward, 53
First Frame, 53
Flip (Effect) Vertically, 119
Follow Rec(order), 95
Freeze, 77
High (Equalizer), 169
Hold, 159
HSV/RGB, 122
In Bin, 145
In Timeline, 145
Jog Back 1 Frame, 53
Jog Back 10 Frames, 126
Jog Forward 1 Frame, 53
Jog Forward 10 Frames, 126
Last Frame, 53
Lift, 71
Limit Chroma, 80
Limit High Luma, 80
Limit Low Luma, 80
Linear, 158
Lock Trans, 95
Loop Clip (Trim Clip Editing
Mode), 127
Loop Edit, 129
Loop while paused (effects),
119
Low (Equalizer), 169
main controls, 43
Manage Tapes, 144
Mark, 98
Mark In, 67
Mark In, Mark Out, 60
Mark Out, 67
master record safes, 52
Merge, 72
Mid (Equalizer), 169
Move, 94
Mute, 161, 165
New (Timeline), 90
New Clip, 62
OK, 54
Only Disk, 72
Options, 170
Overwrite, 61
panel (Clip Main Properties
Panel), 75
Pause, 53
Perform, 54
Pick, 122
Play, 53
Preview, 54
Preview Mode, 97
Recordable, 57
Recorder, 44
Redo, 72
Remove Unused Tapes, 98
Replace, 62
Reset (Color Correction
Panel), 78
Edito r Manu al
GlobeCaster
Reset timeline for assembly,
98
Reverse Play, 53
Reversed (effects), 119
Revert
Color Correction panel,
78
Effect Border Color
Panel, 122
Matte Color Panel, 122
Slide editing mode, 132
Slip Source editing mode,
131
Transition Edit mode, 133
Trim Clip Editing Mode,
127
Trim Edit mode, 129
Review, 54
Rewind, 53
RGB/HSV, 122
Ripple, 90
Roll, 94
Run, 76
Save (Batch) List, 144
Save (clip), 71
Save (Timeline), 89
Save Now (Batch Digitize),
145
Scope, 170
Set as Tape Default, 77
Setup, 77
Single Click, 97
Slide, 89
Slide Edit, 95
Slip Src (Source), 89
Source, 45
Source Type, 65
Splice, 60
Split, 71
Start (Batch Digitize), 144
Stop, 53
Stop (Batch Digitize), 144
Strobe, 77
Tape Name, 47
Tape Scrub, 95
Timeline, 44, 88
Top Bins, 170
Track #, 52
Trans(ition) Edit, 90
Trim Clip, 89
Trim Clip (Editor Options
Panel), 95
Trim Edit, 89
Undo, 72
Use Freeze, 72
Use Source, 163, 164
Use Tape Default, 77
VBV, 97
Video, 52
View, 90
VVV, 97
X, 178
BVB Button, 97
319
Copy to all clips from same
tape button, 77
Freeze button, 77
Loop Count, 76
overview, 75
panel button, 75
Play Speed, 76
record buttons, 76
reel name, 75
Run button, 76
Set as Tape Default button,
77
C
CD Audio, digitizing, 150
Changing Playback Speed, 238
Changing Source Duration, 68
Changing the Duration of
Events, 14
Character Generator Button, 178
Checkerboard Button, 98
Chroma Values, Limiting, 80
Clearing Clip Settings, 62
Clearing The Timeline, 90
Clip %, 144
Clip Audio Properties Panel
animating levels, 165
level controls, 165
Mute button, 165
overview, 164
pan controls, 165
send left controls, 165
send right controls, 165
trim controls, 165
Use Source buttons, 164
Clip Controls, 70
Batch button, 72
Clip Props button, 70
current clip picon, 71
Digitize button, 72
Extract button, 71
Lift button, 71
Merge button, 72
Only Disk button, 72
Redo button, 72
Save button, 71
Split button, 71
Undo button, 72
Use Freeze button, 72
Clip Main Properties Panel
Audio Edit Lock buttons, 76
compression ratio, 76
setting strobe rate, 76
Setup button, 77
Strobe button, 77
Use Tape Default button, 77
Clip Picon, Clearing Settings, 62
Clip Priority, 84
Clip Props Button, 70
ClipMems
creating, 74
recording to PC hard drive,
114
using to make A/V edit, 112
Clips
adding to timeline, linear,
200
audio equalizer panel, 165
automatically saving, 196
automatically splicing, 194
batch digitizing, 226
clearing settings, 62
Clip Main Properties panel,
75
color correction, 77
Color Correction Panel, 77
deleting, 73
deleting digitized, 140
digitized, where saved, 139
digitizing
compression levels, 149
in Batch Digitize window,
142
naming projects, 149
on timeline, 110, 140
overview, 138, 212
selecting components, 148
size of, 149
using autobatch, 218
digitizing AVI and WAV files,
141
extracting, 71
Ind ex
320
freezing, 77
inverting selection on
timeline, 111
inverting selection on track,
111
lifting, 71
logging, 192
logging from a digitized clip,
236
looping, 130, 241
looping (Trim Clip Editing
Mode), 127
merging, 72
renaming, 73
saving, 71
saving from batch list, 147
selecting all on timeline, 114
selecting from here on a track
of timeline, 114
selecting from here on
timeline, 114
selecting none on timeline,
115
selecting track of timeline,
115
sending to batch (digitize)
list, 214
setting audio properties, 164
setting higher priority, 84,
111
setting picons, 73
setting properties, 198
splicing, 194
splitting, 71, 115
strobing, 77
trimming, 127
trimming in Trim Clip mode,
261
Closing Editor, 178
Collapse Tree, 109
Color
effect border, 122
matte, 108, 122
Color Correction
adjusting black hue, 79
adjusting black magnitude,
79
adjusting hue, 79
adjusting luma, 79
adjusting saturation, 79
adjusting setup, 79
adjusting white hue, 79
adjusting white magnitude,
79
default settings, 77
limiting chroma values, 80
limiting luma values, 80
saving settings, 79
setting for all clips from a
tape, 77
setting tape defaults, 77
Color Correction Panel
Black Hue, 79
Black Mag, 79
color picon, 79
Hue slider, 79
Limit Chroma button, 80
Limit High Luma button, 80
Limit Low Luma button, 80
Luma slider, 79
overview, 77
Reset button, 78
Revert button, 78
saturation slider, 79
saving settings, 79
selecting input, 78
Setup slider, 79
White Hue, 79
White Mag, 79
Color Picon
Color Correction panel, 79
Effect Border Color Panel,
122
Matte Color Panel, 122
Colors, Picking, 122
Components (Batch Digitize),
148
Compression
level, setting, 224
overview, 149
ratio, 76
Configure Button, 170
Controls
audio, 161
clip, 70
left (source) monitor
main, 43
right (output) Monitor, 59
timeline, 88
Copy To All Clips From Same
Tape Button, 77
Correcting Color, 77
Create Cross-Fade, 109
Creating Cuts, 16
Creating Cuts With Dissolves, 85
Creating Dissolves, 18, 109, 201
Cubic Keyframes, 159
Cue In Button, 62
Cue Out Button, 62
Cueing Decks, 62
Cueing Source Decks, 68
Current Clip Picon, 71
Current Clip Picon Pop-Up
Menu
deleting clips, 73
overview, 72
properties, 73
recording to hard drive, 74
renaming clips, 73
setting picons, 73
Customizing the Interface, 34
D
d, 111
Decibel Level, Of Keyframe, 157
Decks
assigning, record, 186
assigning, source, 184
cueing, 62
postroll, 99
preroll, 99
Default Bins, 196
Default Editing Mode, Add Clip
Button, 90
Default Settings, Color
Correction, 77
Default Source Duration, 68
Delete Event, 109
Delete Selected Event, 110
Deleting
clips, 73
clips from batch list, 150
digitized clips, 140
Deselect All, Batch Digitize
Window, 143
Designating Record Tapes, 57
Digitize Button, 72
Digitize To Time Machine, 110
Digitized Clips
changing loop count, 76
compression ratio, 76
Only Disk button, 72
opening Batch Digitize
window, 72
selecting for batch digitizing,
Edito r Manu al
GlobeCaster
108
Use Freeze button, 72
Digitizing CD Audio tracks, 150
Digitizing Clips, 110
automatically sending to
Batch List, 61
AVI and WAV files, 141
batch digitize window,
overview, 223
batch digitizing, 226
changing playback speed,
238
clip versus source timecode,
233
compression levels, 149
creating ClipMems, 74
deleting, 140
Digitize button, 72
in Batch Digitize window,
142
naming projects, 149
on the timeline, 140
overview, 138, 212
saving batch in bin, 145
saving batch list, 221
saving batch on timeline, 145
saving clip from batch list,
147
selecting clips in batch list,
148
selecting components, 148
sending to batch list, 214
setting batch list picon, 221
setting compression level,
224
size of clips, 149
using autobatch, 218
where they are saved, 139
Digitizing, AVI and WAV Files,
237
Dissolves
creating, 109, 201
creating cuts with, 85
making A/V edit, 112
making A/X edit, 113
replacing with, 114
Double Click Button, 97
Double Track Height, 110
Dragging Clips, Options, 94
DSK, Adding To Timeline, 204
Duration (Effects) Button, 119
Duration of Source, Changing,
68
E
Edit Decision Lists, Saving, 92
Edit Key Panel
Cubic button, 159
decibel slider, 159
Delete Event button, 158
event (decibel) value, 159
Hold button, 159
Linear button, 158
overview, 158
time slider and timecode, 160
Editing Modes
Add Clip, 124
overview
Slide, 132, 270
Slip Source, 131, 267
Transition Edit, 133, 272
Trim Clip, 127, 261
Trim Edit, 129, 264
tutorial, 256
using Tape Scrub, 124
Editing To Audio, With Auto
Beats, 96
Editor Interface, 32
Editor Options Panel
abort edits margin, 99
aborted edit retries, 99
Auto Beats button, 96
Auto Scrub Length, 96
Follow Rec(order) button, 95
Load Timeline from PosBar,
98
Load Timeline on Scrub, 98
Lock Trans button, 95
Mark button, 98
maximum safe preroll, 99
Move, Roll buttons, 94
overview, 93
postroll, 99
preview mode, 97
reaction frames, 99
Remove Unused Tapes
button, 98
Reset timeline for assembly,
98
Single/Double Click button,
97
Slide Edit button, 95
Tape Scrub button, 95
321
timeline starts timecode, 98
Trim Clip button, 95
Unload TL, 98
Edits
aborting, 99
adjusting with Trim Edit, 264
looping, 129, 266
number of retries, 99
trimming, 129
EDL’s, Saving, 92
Effect Border Color Panel
color picon, 122
Default button, 122
hue, saturation, value sliders,
122
mini color picons, 122
overview, 121
Pick button, 122
red, green, blue sliders, 122
Revert button, 122
RGB/HSV button, 122
Effect Generator Button, 178
Effect Picon, 118
Effect Properties Panel
as Chroma Keyer, 123
Aux(iliary) button, 119
Border, 120
Duration button, 119
Effect Info, 119
effect picon, 118
Flip Vertically, 119
From, To buttons, 118
Loop while paused button,
119
overview, 118
Reversed button, 119
setting fade in, 119
setting fade out, 119
Surface Wipe Softness, 119
Effects
A/V edit, 112
A/X edit, 113
border for wipes, 120
borders, matching colors on
screen, 122
creating dissolves, 109, 201
designating tracks for, 118
duration, 119
fixed duration, 277
flipping vertically, 119
loop while paused, 119
notes about, 119
Ind ex
322
replacing with dissolve, 114
reversing, 119
setting border color, 121, 122
setting fade in, 119
setting fade out, 119
setting properties, 118
setting softness for wipe, 119
using video as a border for
wipes, 119
Eject Button, 53
Equalizer (EQ) Panel
Frequency, 169
Gain, 169
High/Mid/Low buttons, 169
overview, 165
Q, 169
Event, flattening, 111
Events, 83
aligning with snap function,
115
changing duration, 14
deleting, 109
deleting selected, 110
inverting selection on
timeline, 111
inverting selection on track,
111
recording, 54
selecting all on timeline, 114
selecting from here on a track
of timeline, 114
selecting from here on
timeline, 114
selecting none on timeline,
115
selecting track of timeline,
115
Expand All, 110
Expand Tree, 110
Extract Button, 71
F
Fade In (Effects), 119
Fade Out (Effects), 119
Fake Dissolves, 85
Fit All, 110
Fit Selected, 110
Fixed Duration Effects, 277
Flatten Event, 111
Flatten Selected, 111
Flatten Timeline, 111
Flattening
multiple events, 136
single events, 135
timelines, 136
Flip (Effect) Vertically Button,
119
Follow Rec(order) Button, 95
Frame Accuracy, Margin, 99
Frame Accuracy, Retries, 99
Framestore, Creating, 115
Freezing Clips, 77
Frequency, Audio, 169
G
Gain, Audio, 169
Getting Your Timeline To Tape,
210
Global Settings, 196
Gray Monitor, 97
Green Slider
Effect Border Color panel,
122
Matte Color panel, 122
H
Halve Track Height, 111
Help Window, Opening, 178
Higher Priority, 84, 111
Hold Keyframes, 159
Hot Keys
See Keyboard Commands
HSV/RGB Button, 122
Hue Slider
Color Correction panel, 79
Effect Border Color Panel,
122
Matte Color Panel, 122
hue, saturation, value, 122
Hybrid Timeline, 243
I
In Bin Button, 145
In Timecode, 133
In Timeline Button, 145
Incomplete Source, 97
Input (Color Correction Panel),
Selecting, 78
Input Button, Time Machine
Recorder Panel, 64
Insert Video, Time Machine
Recorder Panel, 64
Interface
bins
bottom, 36
changing the number of,
36
opening new, 36
resizing, 36
top, 36
customizing, 34
introduction to, 32
saving layout, 41, 182
timeline
parts of, 82
resizing, 41
toolbar, 32
Introduction to Manual, 4
Invert Selection, 111
Invert Track, 111
K
Keyboard Commands, 303
Keyframes
adding, 107
adding cross-fade, 109
adding dips, 106, 107
adding fade ins, 106
adding fade outs, 107
cubic, 159
decibel level, 157
editing, 158
hold, 159
linear, 158
L
Layout, Saving, 182
Left Monitor Controls
-,+ buttons, 68
Cue In, Cue Out buttons, 68
duration timecode, 68
in point, out point timecode,
67
Mark In, Mark Out buttons,
67
overview, 65
shuttle slider, 66
source type button, 65
Edito r Manu al
GlobeCaster
timecode, 66
transport controls, 69
Level (Audio) Controls, 163, 165
Levels Tracks
doubling height, 110
halving height, 111
resetting height, 114
Levels, Animating Audio, 108
Lift Button, 71
Limit Chroma Button, 80
Limit High Luma Button, 80
Limit Low Luma Button, 80
Linear Editing
adding clips to timeline, 200
assigning record decks, 186
assigning source decks, 184
logging clips, 192
making A/V edit, 112, 208
making A/X edit, 113, 207
naming tapes, 186
previewing timeline, 202
recording timeline, 210
setting recorder in point, 198
setting up decks and tapes,
182
striping tapes, 189
three-point editing, 195
tutorial, 182
using autosave, 196
using AutoSplice, 194
using overwrite, 195
using the Splice button, 194
Linear Keyframes, 158
Linear/Non-Linear Timeline,
243
Live Input Events, on Timeline,
26
Load Files To Source, 97
Loaded Files, List of, 47
Loading Files, Options, 97
Lock Trans Button, 95
Logging Clips, 192
accounting for user reaction
time, 99
automatically sending to
Batch Digitize List, 61
clearing clip settings, 62
from a digitized clip, 236
marking in and out points, 67
saving automatically, 63
Loop Clip
button, 127, 263
in Trim Edit mode, 130
timecode, 128, 130
Loop Count, Changing, 76
Loop Edit
button, 129, 266
timecode, 130
Loop while paused (Effects)
Button, 119
Loop, Playing Timeline In A, 92
Looping Clips, 241
Luma Slider, 79
Luma Values, Limiting, 80
M
Main Controls
eject button, 53
overview, 43
Recorder button, 44
shuttle slider, 52
Source, 45
timecode window, 52
Timeline button, 44
transport controls, 53
Main Source, Selecting
Recorder, 44
Source, 45
Timeline, 44
Main Toolbar, 32
Make A/V Edit, 112, 208
Make A/X Edit, 113, 207
Make All (Timeline) Picons, 92
Manage Tapes Button, 144
Manual Conventions, 5
Mark Button, 98
Mark In, Mark Out Buttons, 60
Marking Clips, 192
Master Record Safes, 52
Matte Color Panel
color picon, 122
Default button, 122
hue, saturation, value sliders,
122
mini color picons, 122
overview, 121
Pick button, 122
red, green, blue sliders, 122
Revert button, 122
RGB/HSV button, 122
Matte Color, Adjusting, 108
Mattes
matching colors on screen,
323
122
setting color, 121, 122
Max(imum) Safe Preroll, 99
Merging Clips, 72
Message Area, 54
Mini Color Picons, 122
minimum effect length, saving
as, 68
Mixing Audio, 161
Monitor Controls, 43
Monitor Slider, 161
Monitors
2, 3, 4 Buttons, 90
how many to use, 257
number of, 34
single monitor (View) mode,
90
Mouse Conventions, 5
Move Button, 94
Moving Clips, Options, 94
Moving Edits, Options, 95
Multiple events, flattening, 136
Mute Button, 161, 165
N
Naming A Timeline, 91
Naming Tapes, 47, 56, 186
New (Timeline) Button, 90
New Clip Button, 62
New Clip, Time Machine
Recorder Panel, 64
Non-Linear Editing
batch digitize window
overview, 223
renaming clips, 223
setting compression level,
224
tape list, 225
batch digitizing, 226
changing playback speed,
238
clip versus source timecode,
233
digitizing AVI and WAV files,
237
digitizing clips, 212
dragging clips to batch list,
221
logging clips from a digitized
clip, 236
looping clips, 241
Ind ex
324
saving batch list, 221
sending clips to batch list,
214
setting batch list picon, 221
turning off audio, 225
tutorial, 212
using autobatch, 218
Notes, about Tapes, 58
Perform Button, 54
Pick Button, 122
Picons
Batch List, 144
color, 79
color (Effect Border Color
panel), 122
color (Matte Color panel),
122
O
OK Button, 54
Only Disk Button, 72
Options Button, 170
Options Buttons
Btm (Bottom) Bins, 170
Configure, 170
Options, 170
overview, 170
Scope, 170
Top Bins, 170
Out Timecode, 133
Output Monitor Controls
See Right Monitor Controls
Overwrite Button, 61, 195
Overwriting Clips on the
Timeline, 61
P
Pan (Audio) Controls, 163, 165
Panel Button, 75
Panels
Clip Audio Properties, 164
Clip Main Properties, 70, 75
Color Correction, 77
Edit Key, 158
Editor Options, 93
Effect Border, 121
Effect Properties, 118
Effect Properties as Chroma
Keyer, 123
Equalizer (EQ), 165
Matte Color, 121
Tape Audio Properties, 161
Tape Properties, 56
Time Machine Recorder
Panel, 64
Timeline Properties, 92
Parts Of The Timeline, 82
Pause points, adding, 107
current clip, 71
effect, 118
making all timeline, 92
setting (clips), 73
timeline, 89
timeline pop-up menu, 90
timeline, setting, 91
Play Speed, Changing, 76, 238
Playing Timeline In A Loop, 92
Pop-Up Menus
Animate Level, 160
Audio Event Menu, 103
Audio Level Track Menu, 104
current clip picon, 72
Keyframe Menu, 101
Rename/Delete, 150
snap frames, 117
Source button, 45
Tape Name, 47
timeline event, 99
timeline picon, 90
Track Menu, 106
Video Event Menu, 105
Position Bar
overview, 83
setting to follow recorder, 95
splitting clips at, 115
Postroll, 99
Preroll, Maximum Safe, 99
Preview Button, 54
Preview Mode, 97
Previewing The Timeline
options, 97
tutorial, 202
Priority, Of Clips, 84, 111
Priority, Using To Create Cuts,
85
Q
Q (Equalizer), 169
Quick Keys
See Keyboard Commands
R
Rate, Strobe, 76
Reaction Frames, 99
Record Button, Time Machine
Recorder Panel, 64
Record Buttons, Clip Main
Properties Panel, 76
Record Decks
assigning, 186
setting the in point, 198
Record Safes, 52
Record Tapes, Designating, 57
Record To Hard Drive, 74, 114
Recordable Button, 57
Recorder Button, 44
Recording Timelines, 54, 55, 210
Recording Timelines, Validation
Bar, 82
Red Slider
Effect Border Color panel,
122
Matte Color panel, 122
Redo
button, 72
Timeline pop-up menu, 114
Reel Name, Clip Main Properties
Panel, 75
Remove All Gaps, 114
Remove Gap, 114
Remove Selected, Batch Digitize
Window, 143
Remove Unused Tapes Button,
98
Rename/Delete Pop-Up Menu,
150
Renaming
clips, 73
clips in Batch Digitize
window, 150
timelines, 91
Replace With Dissolve, 114
Replacing Clips on the Timeline,
62
Reset Button (Color Correction
Panel), 78
Reset Timeline For Assembly
Button, 98
Reset Track Height, 114
Reversed (Effects) Button, 119
Revert Button
Color Correction Panel, 78
Edito r Manu al
GlobeCaster
Effect Border Color Panel,
122
Matte Color Panel, 122
Slide editing mode, 132
Slip Source editing mode, 131
Transition Edit mode, 133
Trim Clip editing mode, 127
Trim Edit mode, 129
Review Button, 54
RGB/HSV Button, 122
Right Monitor Controls, 59
in point and out point
timecode, 60
Mark In, Mark Out buttons,
60
timecode, 59
Timeline/Recorder/TM
Recorder/Off button, 59
transport controls, 63
Ripple Button, 90
Roll Button, 94
Run Button, 76
83, 84
timeline, vertical scroll bar,
84
Scroom Bar, 83, 84
Scrubbing Through
linear tapes, 95
timeline, 83
Select All, 114
Select All, Batch Digitize
window, 143
Select From Here, 114
Select From Here On This Track,
114
Select None, 115
Select Track, 115
Selected, flattening, 111
Selecting a Source, 65
Selecting Clips For Batch
Digitizing, 214
Selecting Clips On Timeline, 84
Send Left (Audio) Controls, 163,
165
Send Right (Audio) Controls,
163, 165
S
S(ou)rc(e) In/S(ou)rc(e) Out
Timecode, 131
Saturation Slider
Color Correction Panel, 79
Effect Border Color Panel,
122
Matte Color Panel, 122
Save (Batch) List Button, 144
Save (Clip) Button, 71
Save (Timeline) Button, 89
Save Layout, 41
Save Now (Batch Digitize)
Button, 145
Save Text EDL (Edit Decision
List), 92
Saving
batch list, 144
clips, 71
clips, automatically, 63, 196
color correction settings, 79
EDL’s (edit decision lists), 92
interface layout, 41, 182
timelines, 89, 205
Scope Button, 170
Scroll Bar, On Timeline, 84
Scrolling
timeline, using scroom bar,
Sending Clips To Batch Digitize
List, 141
Sequential Button, 98
Set (Timeline) Picon, 91
Set as Tape Default Button, 77
Setting
all picons on timeline, 92
clip properties, 198
picons, 73
strobe rate, 76
the recorder’s in point, 198
timeline picon, 91
Setting Up Decks And Tapes,
182
Setup
button, 77
slider, 79
Shuttle Slider, 52
Single Click Button, 97
Single events, flattening, 135
Slide Button, 89
Slide Edit Button, 95
Slide Editing Mode
Out/In timecode, 132
overview, 132
Revert button, 132
Slide Mode, 270
Sliders
325
decibel (edit key panel), 159
monitor, 161
red, green blue, 122
Slip Source Editing Mode
overview, 131
Revert button, 131
S(ou)rc(e) In/S(ou)rc(e) Out
timecode, 131
tutorial, 267
Slip Src (Source) Button, 89
Snap, 115
Snap Frames Pop-Up Menu, 117
Softness, Surface Wipe, 119
Source
changing duration, 68
default duration, 68
selecting, 65
Source Button, 45
Source Button Pop-Up Menu, 45
Source Button, Time Machine
Recorder Panel, 64
Source Decks, Assigning, 45,
184
Source Monitor Controls
See Left Monitor Controls
Source Status, 53
Source Type Button, 65
Source, Selecting for Right
(Output) Monitor, 59
Sources
cueing, 68
list of active, 47
Space Bar, 53
Speed, Changing, 238
Splice Button, 60, 194
Splicing Clips Automatically on
a Timeline, 61
Splicing Clips onto a Timeline,
60
Splicing Together Timelines, 87
Split At Pos(ition)Bar, 115
Split Button, 71
Splitting Clips, 52, 71, 115
Start (Batch Digitize) Button,
144
Starting Timecode For
Timelines, Marking, 98
Status Messages
general, 54
source, 53
Stop (Batch Digitize) Button,
144
Ind ex
326
Stop Button, Time Machine
Recorder Panel, 64
Striping A Tape, 189
Stripping Audio, 164
Stripping Audio or Video, 76,
163
Strobe Rate, 76
Strobing Clips, 77
Surface Wipe Softness, 119
Switcher Button, 178
Sync Roll Editing
building a timeline, 288
digitizing the timeline, 294
importing timeline into
Editor, 292
setting picons for clips, 294
tutorial, 279
T
T (Transition) Duration
Timecode, 134
Tape Audio Properties Panel
level controls, 163
opening, 57
overview, 161
pan controls, 163
send left controls, 163
send right controls, 163
trim controls, 163
Use Source buttons, 163
Tape List, Batch Digitize
Window, 143
Tape Name
assigning, 56
button, 47
in Batch Digitize window,
148
pop-up menu, 47
removing, 98
Tape Properties Panel
buttons
delete, 58
Recordable, 57
fields
Name, 58
tape name, 56
Value, 58
naming tapes, 47
overview, 56
Tape Scrub Button, 95
Tapes
naming, 47, 186
scrubbing, 95
setting audio properties, 161
setting properties, 56
striping, 189
stripping audio, 163
Three-Point Editing, 61, 195
Time Machine
batch digitize window
batch digitizing, 226
overview, 142, 223
renaming clips, 223
tape list, 225
changing loop count, 76
changing play speed, 76, 238
clip versus source timecode,
233
comments window, 149
compression levels, 149
compression ratio, 76
deleting clips from batch list,
150
deleting digitized clips, 140
Digitize button, 72
digitizing AVI and WAV files,
141, 237
digitizing clips, 110, 140, 212
dragging clips to batch list,
221
hybrid (linear/non-linear)
timeline, 243
logging clips from a digitized
clip, 236
looping clips, 241
naming projects, 149
Only Disk button, 72
opening Batch Digitize
window, 72
overview, 138, 212
renaming clips, 150
saving batch in bin, 145
saving batch list, 221
saving batch on timeline, 145
saving clip from batch list,
147
selecting clips in batch list,
148
selecting components for
digitizing, 148
sending clips to batch list,
108, 141, 214
setting batch list picon, 221
size of clips, 149
space available on hard
drives, 143
turning off audio, 225
Use Freeze button, 72
user name, 149
using autobatch, 218
where clips are saved, 139
Time Machine clips, exporting,
153
Time Machine Recorder Panel,
64
Timecode
clip versus source, 233
main source, 52
source versus timeline, 250
timeline, 82
timeline starts, 98
Timecode Window, Time
Machine Recorder Panel, 64
Timeline
adding a graphic overlay, 24
adding audio cross-fade, 109
adding audio dips, 106, 107
adding audio fade ins, 106
adding audio fade outs, 107
adding audio keyframes, 107
adding clips, 200
adding effects, 21
adding effects and DSK’s,
204
animating audio levels, 108,
155, 165
appending, 87, 205
assembling, options, 98
automatically splicing clips,
61
changing the duration of
events, 14
clearing, 90
clip priority, 84
collapsing tree, 109
creating cuts, 16
creating dissolves, 18, 109
creating framestores, 115
deleting events, 109
deleting selected events, 110
designating tracks for effects,
118
digitizing clips, 110, 212
doubling Levels track height,
110
Edito r Manu al
GlobeCaster
duration timecode, 84
Editor Options panel, 93
events, 83
expanding all tracks, 110
expanding tree, 110
extracting clips, 71
fit all, 110
fit selected, 110
Flatten Event, 111
Flatten Selected, 111
Flatten Timeline, 111
halving Levels track height,
111
hybrid (linear/non-linear),
243
inverting selection, 111
inverting selection on track,
111
lifting clips, 71
live input events, 26
making notes about, 92
marking starting timecode,
98
moving clips, options, 94
moving edits, options, 95
overview, 81
overwriting clips, 61
parts of, 82
performing (recording), 54
playing in a loop, 92
position bar, 83
previewing, 54, 202
properties panel, 92
recording, 55, 210
removing all gaps, 114
removing gap, 114
renaming, 91
replacing clips, 62
replacing effect with
dissolve, 114
resetting Levels track height,
114
resetting validation bar, 98
resizing, 41
reviewing, 54
ripple editing, 90
Save button, 89
saving, 89, 205
scroom bar, 83, 84
scrubbing through (linear
tapes), 95
selecting all, 114
selecting clips on, 84
selecting from here, 114
selecting from here on a
track, 114
selecting none, 115
selecting track, 115
selecting track for spliced
clips, 52
sending clips to batch list,
108, 215
setting higher priority, 84,
111
setting recorder in point, 198
setting the position of clips,
60
setting timeline picon, 91
snap function, 115
splicing clips, 60
splitting clips, 52, 71, 115
stripping audio, 164
three-point editing, 61
timecode, 82
tracks, 83
tree, 83
Ungroup Audio and Video
Events, 115
using fixed duration effects,
277
validation bar, 82
vertical scroll bar, 84
zooming, 115, 116
Timeline Button, 44, 88
Timeline Controls
2, 3, 4 monitor buttons, 90
Add Clip button, 90
New button, 90
overview, 88
Ripple button, 90
Save button, 89
Slide button, 89
Slip Src (Source) button, 89
Timeline button, 88
timeline picon, 89
Trans(ition) Edit button, 90
Trim Clip button, 89
Trim Edit button, 89
View button, 90
Timeline Event Pop-Up Menu
overview, 99
Timeline Menu Items, 106
Timeline Picon, 89
Timeline Picon Pop-Up Menu
327
make all picons, 92
overview, 90
play in loop, 92
Properties, 91
Rename, 91
save text edl (edit decision
list), 92
setting the picon, 91
Timeline Pop-Up Menu
Add Dip, 106
Add Fade In, 106
Add Fade Out, 107
Add Keyframe, 107
Add to Batch Digitize, 108
Adjust Color, 108
Adjust color, 108
Animate Level, 108
Collapse Tree, 109
Create Cross-Fade, 109
Create Dissolve, 109
Cubic, 109
Delete Event, 109
Delete Key, 109
Delete Selected Event, 110
Delete Selected Events, 110
Digitize to Time Machine,
110
Double Track Height, 110
Double Track Heights, 110
Edit Key, 110
Effect Properties, 110
Expand All, 110
Expand Tree, 110
Fit All, 110
Fit Selected, 110
Flatten Event, 111
Flatten Selected, 111
Flatten Timeline, 111
Halve Track Height, 111
Higher Priority, 111
Hold, 111
Invert Selection, 111
Invert Track, 111
Linear, 112
Make A/V Edit, 112
Make A/X Edit, 113
Properties, 113
Record to Hard Drive, 114
Record to Harddrive, 114
Redo, 114
Remove All Gaps, 114
Remove Gap, 114
Ind ex
328
Replace With Dissolve, 114
Replace with Dissolve, 114
Reset Track Height, 114
Select All, 114
Select From Here, 114
Select From Here on This
Track, 114
Select None, 115
Select Track, 115
Show Filenames Upon
Selection, 115
Snap, 115
Split at Pos(ition)Bar, 115
Split at PosBar, 115
Turn into Framestore, 115
Undo, 115
Ungroup Audio and Video
Events, 115
Zoom 1/2, 115
Zoom All, 116
Zoom at Position Bar, 116
Zoom x2, 116
Timeline Properties Panel
Delete button, 92
Name, 92
overview, 92
Value, 92
Timeline Starts Timecode, 98
timeline, dropping videos onto,
142
To Do List (Batch Digitize), 146
To Do List, Adding Clips To,
221
Toolbar, 32
_ button, 178
2, 3, 4 monitor buttons, 90
Add Clip button, 90
Animator/Compositor
button, 178
audio controls, 161
Batch button, 72
Btm (Bottom) Bins, 170
Character Generator button,
178
clip controls, 70
Clip Props button, 70
Configure button, 170
current clip picon, 71
Digitize button, 72
Effect Generator button, 178
Extract button, 71
Lift button, 71
main controls, 43
Merge button, 72
New (timeline) button, 90
Only Disk button, 72
Options button, 170
options buttons, 170
Redo button, 72
Ripple button, 90
Save (clips) button, 71
Scope button, 170
Slide button, 89
Slip Src (Source) button, 89
Split button, 71
Timeline button, 88
timeline controls, 88
timeline picon, 89
Top Bins button, 170
Trans(ition) Edit button, 90
Trim Clip button, 89
Trim Edit button, 89
Undo button, 72
Use Freeze button, 72
View button, 90
Top Bins Button, 36, 170
Total %, 144
Track # Button, 52
Tracks
animating levels, 108
collapsing, 109
designating for effects, 118
doubling height, 110
expanding all, 110
expanding tree, 110
halving height, 111
inverting selection, 111
on timeline, 83
priority of, 84
resetting height, 114
selecting, 52, 115
selecting events from here,
114
setting higher priority, 84,
111
Trans(ition) Edit Button, 90
Transition Edit Mode
-/+ buttons, 134
In timecode, 133
Out timecode, 133
overview, 133, 272
Revert button, 133
T (Transition) Duration
timecode, 134
Trn (Transition) In timecode,
133
Trn (Transition) Out
timecode, 133
Transitions
border, 120
designating tracks, 118
editing, 133, 272
flipping vertically, 119
using video as a border, 119
Transport Controls
left monitor, 69
main controls, 53
overview, 43
right (output) monitor, 63
Tree
collapsing, 109
expanding, 110
expanding all, 110
timeline tracks, 83
Trim (Audio) Controls, 163, 165
Trim Clip Button, 89
Trim Clip Button (Editor Options
Panel), 95
Trim Clip Editing Mode
duration timecode, 128
In/Out Timecode, 127
Loop Clip, 127
Loop Clip timecode, 128
overview, 127
Revert button, 127
tutorial, 261
Trim Edit Button, 89
Trim Edit Editing Mode
duration timecode, 130
Loop Clip, 130
Loop Clip timecode, 130
Loop Edit button, 129
Loop Edit timecode, 130
Out/In Timecode, 129
overview, 129
Revert button, 129
tutorial, 264
Trimming Clips
with mouse, 95
Trn (Transition) In Timecode,
133
Trn (Transition) Out Timecode,
133
Turn Into Framestore, 115
Tutorials
linear editing, 182
Edito r Manu al
GlobeCaster
non-linear editing, 212
sync roll editing, 279
using advanced editing
modes, 256
Digitize Panel, 279
VU Meter, 161
VVV Button, 97
W
U
Undo Button, 72
Unlocking Audio or Video
Tracks, 76
Use Freeze Button, 72
Use Source Buttons, 163, 164
Use Tape Default Button, 77
Using Advanced Editing Modes
overview, 124
tutorial, 256
Using AutoBatch, 218
Using Automated Features, 194
Using Monitor and Transport
Controls, 43
Using Options And Applications
Buttons, 170
WAV Files, Digitizing, 141, 237
Waveform Monitor
See Vector Scope
White Hue, 79
White Mag, 79
Wipes
border, 120
flipping vertically, 119
setting softness, 119
using video as a border, 119
Working With Clips, 70
Working With Timelines, 81
X
X Button, 178
V
Z
Validation Bar
overview, 82
resetting, 98
Value Slider
Effect Border Color Panel,
Zoom 1/2, 115
Zoom All, 116
Zoom At Position Bar, 116
Zoom x2, 116
Zooming
timeline, 115, 116
fit all, 110
fit selected, 110
using scroom bar, 83, 84
122
Matte Color Panel, 122
VBV Button, 97
Vector Scope
Cb waveform monitor, 175
Cr waveform monitor, 176
overview, 170
Parade mode, 177
y waveform monitor, 174
Vertical Scroll Bar (On
Timeline), 84
Video Button, 52
video files, dropping onto the
timeline, 142
Video Tracks
stripping, 76
unlocking, 76
View Button, 35, 90
Volume, in Batch Digitize
Window, 148
VTR Transport/Sync Roll/Live
329
Ind ex
330
Edito r Manu al
GlobeCaster
331
GlobeCaster System License Agreement
IMPORTANT - READ THIS LICENSE AGREEMENT (“AGREEMENT”)
CAREFULLY BEFORE USING OR OTHERWISE OPERATING THE
GLOBECASTER SYSTEM. BY USING THE GLOBECASTER SYSTEM, YOU
INDICATE YOUR ACCEPTANCE AND AGREEMENT OF THE TERMS AND
CONDITIONS OF THIS AGREEMENT. GLOBALSTREAMS, INC.’S
(“GLOBALSTREAMS”) ACCEPTANCE OF YOUR GLOBECASTER SYSTEM
ORDER IS EXPRESSLY CONDITIONED UPON YOUR ASSENT TO ALL THE
TERMS AND CONDITIONS OF THIS AGREEMENT TO THE EXCLUSION OF
ALL OTHER TERMS, INCLUDING WITHOUT LIMITATION ANY
SUPERSEDING OR ADDITIONAL TERMS PROPOSED BY YOU (OTHER THAN
CONFIRMING AGREED-UPON PRICE, QUANTITY AND SHIPPING
INFORMATION); IF THESE TERMS ARE CONSIDERED AN OFFER BY
GLOBALSTREAM, ACCEPTANCE IS EXPRESSLY LIMITED TO THESE TERMS.
IF YOU ARE NOT WILLING TO BE BOUND BY THE TERMS AND CONDITIONS
OF THIS AGREEMENT, YOU SHOULD PROMPTLY RETURN THE
GLOBECASTER SYSTEM, INCLUDING ANY UNOPENED SOFTWARE
PACKAGE(S) AND ACCOMPANYING DOCUMENTATION, FOR A FULL
REFUND OF APPLICABLE FEES PAID. THIS IS A LEGAL AGREEMENT
BETWEEN YOU (YOUR COMPANY IF APPLICABLE) AND GLOBALSTREAMS.
THIS AGREEMENT REPRESENTS THE ENTIRE AGREEMENT CONCERNING
THE GLOBECASTER SYSTEM (AS DEFINED BELOW) BETWEEN YOU AND
GLOBALSTREAMS AND SUPERSEDES ANY PRIOR PROPOSAL,
REPRESENTATION, OR UNDERSTANDING BETWEEN THE PARTIES. IN THE
EVENT OF ANY CONFLICT BETWEEN THIS AGREEMENT AND ANY OTHER
DOCUMENT RECEIVED FROM YOU, INCLUDING WITHOUT LIMITATION
ANY PURCHASE ORDER DOCUMENTATION, THE TERMS OF THIS
AGREEMENT SHALL PREVAIL.
1. GRANT OF LICENSE.
1.1 Subject to the terms and conditions of this Agreement, GlobalStreams hereby
grants to you, and you accept, a limited, personal, nonexplosive, non sub
licensable, nontransferable (except in accordance with Section 11.1) license to use
each copy of the software object code provided to you, including any updates or
upgrades provided by GlobalStreams (the “Software”), with the tangible
equipment provided by GlobalStreams (“Hardware”) and the accompanying
hardcopy documentation (the “Documentation”) (the Software, Hardware and
Documentation collectively constituting the “GlobeCaster System”) for the sole
purpose of offering to your customers broadcast production services as authorized
in this Agreement. You agree that you will not assign, sublicense, transfer, pledge,
lease, rent, or share your rights under this Agreement. You agree that you may not
reverse assemble, reverse compile, or otherwise translate the Software or create
derivative works of the Software or Documentation. You will use reasonable efforts
to protect GlobalStreams’ rights under this Section 1 and will notify GlobalStreams
of any infringement about which you become aware.
1.2 You may make one (1) archival copy of the Software and Documentation,
provided that you affix to such copy all copyright, confidentiality, and proprietary
notices that appear on the original. You may make one copy of the Documentation
for backup purposes. Except as authorized under this paragraph, no copies of the
Software or Documentation or any portions thereof may be made by you or any
person under your authority or control.
Glo beC as ter Sys tem Lic ens e Ag reeme nt
332
1.3 The license in Section 1.1 above will terminate immediately without notice
from GlobalStreams if you fail to comply with any provision of this Section 1.
Upon termination, you will destroy all copies of Software and Documentation or,
alternatively, return all such Software or Documentation to GlobalStreams.
1.4 You will not alter, erase, deface or overprint any notices, trademarks, emblems,
legends or other proprietary labels of any nature on or in the GlobeCaster System.
2. LICENSOR’S RIGHTS. You acknowledge and agree that the Software and the
Documentation are proprietary products of GlobalStreams protected under U.S.
copyright law. Title to the Software and Documentation will at all times remain with
GlobalStreams and, where applicable, its suppliers. GlobalStreams retains ownership
of any and all copyrights, patent rights, trademark rights, trade secret rights, rights of
publicity or privacy or other intellectual property rights (“Intellectual Property”)
related to or resulting from installation, training, support and/or maintenance of the
GlobeCaster System. This Agreement does not create any implied licenses. All rights
not expressly granted are reserved by GlobalStreams. You acknowledge that the
GlobeCaster System contains trade secrets of GlobalStreams and, accordingly, you
will not use (except as authorized herein) or disclose the Software or Documentation
without GlobalStreams’ prior written approval, and you will use reasonable measures
to protect it.
3. LICENSE FEES, PAYMENT, DELIVERY. The fees paid by you are paid in
consideration of the Hardware and licenses granted under this Agreement. Prices
and fees are exclusive of all sales, use, and like taxes and duties. All payments must
be in United States dollars. Any tax or duties GlobalStreams may be required to
collect or pay upon sale, use, licensing or delivery of the GlobeCaster System shall
be paid by you to GlobalStreams upon invoice. The GlobeCaster System is shipped
FOB GlobalStreams’ site, and all transportation charges related to the shipment of
the GlobeCaster System shall be paid by you to GlobalStreams upon invoice.
4. SUPPORT AND MAINTENANCE. Support and maintenance services are not
provided under this Agreement. You must separately contract with GlobalStreams
and pay any applicable fees for these services.
5. TERM. This Agreement is effective upon your initial operation of the
GlobeCaster System and shall continue until terminated. You may terminate this
Agreement at any time by returning the Software and Documentation and extracts
therefrom to GlobalStreams. Upon such termination by GlobalStreams, you agree
to return to GlobalStreams all copies and portions thereof of the Software and
Documentation. GlobalStreams may terminate this Agreement upon the breach by
you of any term hereof. Termination of this Agreement by GlobalStreams shall not
release you from any liability which at the time of termination has already accrued
to GlobalStreams or which thereafter may accrue in respect to any act or omission
prior to termination or from any obligation specified to survive termination.
6. CONFIDENTIALITY. You acknowledge that, in connection with this
Agreement and your relationship with GlobalStreams, you may obtain information
relating to the GlobeCaster System and to GlobalStreams that is of a confidential
and proprietary nature (“Confidential Information”). Such Confidential
Information may include, but is not limited to, trade secrets, know how,
inventions, techniques, processes, programs, schematics, software source
documents, data, customer lists, financial information, and sales and marketing
plans, or information that you know or have reason to know is confidential,
proprietary or trade secret information of GlobalStreams. You shall at all times,
Edito r Manu al
GlobeCaster
333
both during the term of this Agreement and for a period of at least five (5) years
after its termination, keep in trust and confidence all such Confidential
Information, and shall not use such Confidential Information other than as
expressly authorized by GlobalStreams under this Agreement, nor shall you
disclose any such Confidential Information to third parties without GlobalStreams’
written consent. You further agree to immediately return to GlobalStreams all
Confidential Information (including copies thereof) in your possession, custody,
or control upon termination of this Agreement at any time and for any reason. The
obligations of confidentiality shall not apply to information that (a) is in the public
domain, except as a result of your breach of this Agreement; (b) prior to disclosure
hereunder was already rightfully in your possession, without an obligation of
confidentiality; or (c) subsequent to disclosure hereunder is obtained by you on a
nonconfidential basis from a third party who has the right to disclose such
information to you.
7. INDEMNIFICATION. You will, at your sole expense and GlobalStreams’
request, defend, indemnify and hold GlobalStreams and GlobalStreams’ affiliates or
any director, officers or employee of either (collectively the “GlobalStreams
Parties”) harmless from all damages, claims, actions, proceedings and/or
settlements (including reasonable attorneys’ fees and expenses) arising out of or in
connection with: (i) your activities relating to the GlobeCaster System; (ii) any
web site operated, controlled or in any way associated with you, (iii) any content
used in any manner in connection with your GlobeCaster System (other than unmodified content supplied by GlobalStreams) (such content hereinafter referred to
as your “Media”) that infringes or violates any Intellectual Property, proprietary or
contractual right of a third party; (iv) any use of the GlobeCaster System that
causes GlobalStreams to violate any agreement GlobalStreams may have with a
third party supplier; (v) any defamatory or libelous material or material that
discloses private or personal matters concerning any person, without such person’s
consent; (vi) any violations of law or regulations; (vii) your Media or any
messages, data, images or programs that are illegal, or are, by law, obscene, profane
or pornographic or (viii) any messages, data, images or programs that would
violate, interfere with, disrupt or otherwise materially harm the rights of others,
including unauthorized copyrighted text, images or programs, trade secrets or
other confidential proprietary information, or trademarks or service marks used in
an infringing fashion, including claims by any guilds or other collective bargaining
units or royalty tribunals (all of the foregoing claims or actions being referred to
hereinafter as “Claims”). GlobalStreams agrees to: (a) provide Client reasonably
prompt notice in writing of any such Claims and (b) provide you reasonable
information and assistance, at your expense, to help defend the Claims. You agree
to consult with GlobalStreams and obtain GlobalStreams’ written approval on the
choice of any counsel under this section.
8. LIMITATION OF LIABILITY. GLOBALSTREAMS’ CUMULATIVE LIABILITY
TO YOU OR ANY OTHER PARTY FOR ANY LOSS OR DAMAGES RESULTING
FROM ANY CLAIMS, DEMANDS, OR ACTIONS ARISING OUT OF OR
RELATING TO THIS AGREEMENT UNDER ANY THEORY (INCLUDING
CONTRACT, NEGLIGENCE, STRICT LIABILITY OR OTHER LEGAL OR
EQUITABLE THEORY) SHALL NOT EXCEED THE AGGREGATE OF THE
AMOUNTS PAID BY YOU TO GLOBALSTREAMS FOR THE TWELVE MONTH
PERIOD PRIOR TO THE DATE THE CAUSE OF ACTION AROSE. IN NO EVENT
SHALL GLOBALSTREAMS BE LIABLE FOR ANY INDIRECT, INCIDENTAL,
CONSEQUENTIAL, SPECIAL, OR EXEMPLARY DAMAGES OR LOST PROFITS,
Glo beC as ter Sys tem Lic ens e Ag reeme nt
334
EVEN IF GLOBALSTREAMS HAS BEEN ADVISED OF THE POSSIBILITY OF
SUCH DAMAGES. THIS SECTION DOES NOT LIMIT LIABILITY FOR BODILY
INJURY OR DEATH OF A PERSON. SOME STATES DO NOT ALLOW THE
LIMITATION OR EXCLUSION OF LIABILITY FOR INCIDENTAL,
CONSEQUENTIAL OR OTHER DAMAGES, SO THE ABOVE LIMITATION OR
EXCLUSION MAY NOT APPLY TO YOU.
9. HIGH RISK ACTIVITIES. The Software is not fault-tolerant and is not
designed, manufactured or intended for use or resale as on-line control equipment
in hazardous environments regarding fail-safe performance, such as in the
operation of nuclear facilities, aircraft navigation or communication systems, air
traffic control, direct life support machines or weapons systems, in which the
failure of the Software could lead directly to death, personal injury, or severe
physical or environmental damage (“High Risk Activities”). GlobalStreams and its
suppliers specifically disclaim any express or implied warranty of fitness for High
Risk Activities. Any such use is expressly prohibited without prior written
agreement of GlobalStreams under terms intended to allocate the risks of selling
the GlobeCaster System for such uses. You will indemnify, defend and hold
GlobalStreams harmless from all claims, losses, damages and expenses, including
attorneys’ fees and costs arising from any prohibited use or application of the
GlobeCaster System.
10. U.S. GOVERNMENT RESTRICTED RIGHTS. If you are a unit or agency of
the United States Government (“U.S. Government”), the following provisions
apply: All Software and accompanying Documentation are deemed to be
“commercial computer software” and “commercial computer software
documentation,” respectively, pursuant to DFAR Section 227.7202 and FAR
Section 12.212, as applicable. Any use, modification, reproduction, release,
performance, display or disclosure of the Software and accompanying
Documentation by the U.S. Government will be governed solely by the terms of
this Agreement and will be prohibited except to the extent expressly permitted by
the terms herein. Manufacturer is GlobalStreams, Inc., 43 Maryland Plaza, St.
Louis, MO 63108.
11. MISCELLANEOUS.
11.1 You have no right to assign or sublicense this Agreement or any Software
licenses, in whole or in part, without GlobalStreams’ prior written consent. Any
attempt to assign or sublicense this Agreement without such consent will be null
and void. GlobalStreams may assign this Agreement in whole or in part. In the
event GlobalStreams is acquired, this Agreement will continue in accordance with
its terms.
11.2 This Agreement will not establish any relationship of partnership, joint
venture, employment, franchise, or agency between you and GlobalStreams.
Neither you nor GlobalStreams will have the power to bind the other or incur
obligations on the other’s behalf.
11.3 This Agreement shall be construed and governed in accordance with the laws
of the State of California, excluding its conflict of law rules, and venue and
jurisdiction for any disputes lie exclusively in Alameda County, California. You
consent to service of process and venue.
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11.4 Should any term of this Agreement be declared void or unenforceable by any
court of competent jurisdiction, such declaration shall have no effect on the
remaining terms hereof.
11.5 If any action is brought by either party to this Agreement against the other
party regarding the subject matter hereof, the prevailing party shall be entitled to
recover, in addition to any other relief granted, reasonable attorney fees and
expenses of litigation.
11.6 The failure of either party to enforce any rights granted hereunder or to take
action against the other party in the event of any breach hereunder shall not be
deemed a waiver by that party as to subsequent enforcement of rights or
subsequent actions in the event of future breaches.
11.7 You will comply with the U.S. Foreign Corrupt Practices Act and all export
laws and restrictions and regulations of the Department of Commerce, the United
States Department of Treasury, or other U.S. or foreign agency and authority, and
not export, or allow the export or re-export of any GlobeCaster System in violation
of any such restrictions, laws or regulations. You will obtain and bear all expenses
relating to any necessary licenses and exemptions with respect to the export from
the U.S. of any GlobeCaster System to any location.
Glo beC as ter Sys tem Lic ens e Ag reeme nt
336
Edito r Manu al
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Application Notes
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